60s / Beat / Folk etc
Result of your query: 1079 products
| VA: - Twistin' Rumble Vol. 1 The Swingin'est Dance Party Ever |
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TR | CD | 18.00 € |
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| VA: - Twistin' Rumble Vol. 2 The Swingin'est Dance Party Ever |
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TR | CD | 18.00 € |
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| VA: - Twistin' Rumble Vol. 3 the swingin'est dance party ever ! |
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TR | CD | 18.00 € |
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| VA: - Twistin' Rumble Vol. 4 |
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TR | CD | 18.00 € |
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| VA: - Twistin' Rumble Vol. 6 The Swingin'est Dance Party Ever |
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TR | LP | 17.00 € |
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| VA: - Twistin' Rumble Vol. 7 the swingine'est dance party ever |
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TR | LP | 17.00 € |
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| VA: - UK Teenage Jamboree Vol 2 33 biisiä UK teenage R&R |
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Farmer Records | CD | 17.00 € |
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| VA: - Uptight Tonight - The Ultimate 60s Garage Collection 26 biisiä 60s garagea vuosilta 1965-67 |
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Ace Records 2005 | CD | 18.00 € |
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| VA: - Wailin' In West Covina !! - The Hydraulic Raisins 13 wild teen-age tunes from southern california's most prolific garage |
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Dionysus Records 1998 | CD | 17.00 € |
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| VA: - We Never Had It So Good A fantastic 25 track tribute to British Rock n Roll of the late 50s and early 60s. Featuring lots of your favourite Western Star artists, some original British legends and a few new names you'll not have heard of yet! |
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Western Star 2010 | CD | 17.00 € |
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| VA: - We're Gonna Change The World ! High-Definition 180 gram GOLD Vinyl LP During the peak years of the ’60s garage band wave, Pete Wright was one of the nation’s top independent record promotion men. His records were not only hits on Chicago’s crucially important WLS but also in small markets throughout the Midwest. Whether in the Windy City or in these smaller outposts, he was tipped off to tons of untapped local talent. So much so that launching a record label was the next logical step. Thus was born Quill Records, a short-lived but supremely cool label heavily indebted to the garage band sound. This definitive overview collects only the most rockin’ sides from the label; from the Malibu’s who manage to outdo their idols the Animals, at least in pure unbridled energy, to the Skunks who on their overdriven, fuzzed-out cover of “Do the Duck” could be mistaken for a UK mod/freakbeat act. And that’s just for starters in a set of teen rave-ups from the likes of the Delights, the Commons, Ltd., Chances R, the Riddles and more. If the appearance of the Don Caron Orchestra in the track listing causes serious head scratching amongst the more discerning of you garage connoisseurs, well, we couldn’t help ourselves. Their “Hot Pastrami” may be the most scorching sax ’n’ reverb instrumental you hear all year. This set also includes rare photos, label scans and extensive liner notes (with interviews from both Pete Wright and many of the bands). |
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Sundazed Music 2009 | LP | 19.00 € |
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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: - 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 € |
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| VA: - Wild Thing - The Songs Of Chip Taylor Chip Taylor is the subject of the latest addition to our songwriter-based series. He can boast two career songs – ‘Wild Thing’ and ‘Angel Of The Morning’ – both of which have been recorded countless times and are considered to be among the greatest of their decade. Chip’s collaborations with Ted Daryll, Al Gorgoni, Jerry Ragovoy, Wes Farrell and Billy Vera are no less revered. When Aretha Franklin, Dusty Springfield and Peggy Lee record your songs, you know you’re doing something right. The Troggs open our show with ‘Wild Thing’. The song is indelibly associated with Reg Presley and his cohorts, but Chip was commissioned to write it for the Wild Ones. He doesn’t care for the original, “They took the power of the song and diminished it,” but loves the Troggs’ recording, “A right funky record. You couldn’t beat that. It was like my demo, except they played it with an electric guitar.” (Find the Wild Ones’ version on our recent collection “You Heard It Here First” CDCHD 1204.) To many the most significant recipient of Chip’s compositions is Evie Sands. “She had this honey voice that was one of a kind. How could you ever not love that, every minute, working with her, rehearsing with her, producing her.” Given half a chance we’d have filled this CD with her tracks, but had to narrow the choice to just two – the feisty ‘Run Home To Your Mama’ and her stunning original of ‘I Can’t Let Go’. Three others represent her by proxy: ‘Picture Me Gone’ (in a splendiferous version by Madeline Bell), ‘Angel Of The Morning’ (Merrilee Rush’s hit rendition) and ‘Any Way That You Want Me’ (Evie’s breakthrough song, heard here in a recording by Tina Mason from three years earlier). All but three of our selection were recorded between 1964 and 1968. Closing the proceedings are three of Chip’s most important 1970s compositions: ‘Son Of A Rotten Gambler’ by the Hollies, ‘Blackbird (Hold Your Head High)’ by black country singer Stoney Edwards and Chip’s own recording of the autobiographical ‘(I Want) The Real Thing’. Chip can also be heard as Kathy McCord’s uncredited singing partner. Other highlights include Lorraine Ellison’s ultra-soulful ‘Try (Just A Little Bit Harder)’, the delicious ‘Make Me Belong To You’ by Barbara Lewis, the original demo of ‘Storybook Children’, sung by its co-writer Billy Vera with Nona Hendryx, and Walter Jackson’s version of the oft-recorded ‘Welcome Home’, one of Chip’s favourites. The booklet includes a 7,000-word essay, much of it in Chip’s own words. He comes across as not only one of the greatest songwriters in the business, but also one of the nicest guys. If this compilation sparks an interest in his more recent activities, his book Songs From A Dutch Tour, which comes with a disc of new songs, might be the place to begin. To hear some of the tracks he cut as teenage rocker Wes Voight in the late 50s, check out the Ace CD “King of Rock’n’Roll” CDCHD 975. As we go to press we hear that Chip has been ill. We hope that “Wild Thing” will serve as a get well soon card and help speed the recovery of one of the greatest singer-songwriters of the past 50 years. BY MICK PATRICK (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Work It On Out! Northwest Killers Vol. 3 1965-66 And for the loud crowd, we wrap up with an entirely unissued 1965-66 garage collection! Dig the speaker shredding fury of Rocky and his Friends' Wailers cover You Weren't Using Your Head, the snotball take-a-hike punk of the Jet City Five's Huh and the spunky teen crank of the Extremes' Long Dark Collar - and that's just the first three cuts! |
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Norton Records 2001 | LP | 13.00 € |
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| VA: - Work It On Out! Northwest Killers Vol. 3 1965-66 23 biisiä |
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Norton Records 2001 | CD | 17.00 € |
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| VA: - Wrenchin' The Wires Vol. 2 wild 60's 14 party's organ-led curtain-rippers from poland |
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Sixty-Six Records | LP | 17.00 € |
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| VA: - Wyld Sydes Vol. 7 american garage bands 1964-1969 |
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Retro Gene Records | CD | 18.00 € |
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| VA: - Wyld Sydes Vol. 9 american garage bands from 1964-1969 |
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Retro Gene Records | CD | 18.00 € |
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| VA: - Yeah Yeah Yeah 28 mega manic & elusive 60s garage punkers |
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Cheep Cheep Records | CD | 18.00 € |
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| VA: - Yesterday's Dawn 16 vintage victors from the garage vaults. limited edition 300 copies made. |
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Fossil Records | LP | 20.00 € |
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| VA: - You Baby: Words And Music by P.F. Sloan And Steve Barri Together with his writing partner Steve Barri, Phil (P.F.) Sloan effectively invented the concept of the self-contained singer-songwriter (as documented on “Here’s Where I Belong” CDWIKD 277). Sloan & Barri’s songbook was widely plundered for cover versions throughout the 60s and beyond. It’s this side of their work that makes up “You Baby”, the latest in Ace’s songwriters series. Sloan & Barri’s partnership was forged by producer Lou Adler in 1963, though the guys had each already released a number of sides as performers for a variety of labels, with somewhat limited success. Playing off each other’s strengths, they instantly formed a great working relationship, with Sloan as the more experienced musician and Barri as the studio head. From their surf’n’turf beginnings through era-defining folk rock and beyond, “You Baby” maps out a brilliant and fascinating career path packed with pop standards. While their best-known early numbers are hedonistic fun-in-the-sun anthems such as ‘Tell ’Em I’m Surfin’’ and ‘Summer Means Fun’, their remit was wide enough to encompass girl group influences in ‘You Say Pretty Words’ by Ramona King and the latin-tinged sounds of Betty Everett’s ‘Someday Soon’. Meanwhile, they also had to contend with a furious release schedule of their own, recording under a wide variety of guises including the Fantastic Baggys and Philip & Stephan, not to mention their in-demand status as session guys, appearing as musicians or singing backups on many of the tracks compiled here. Sloan had always been the more performance-oriented of the two and when folk rock hit it clearly affected his modus operandi more than Barri’s. The solo Sloan writing credit on hits such as ‘The Sins Of A Family’, ‘Let Me Be’, ‘Take Me For What I’m Worth’ and, of course, ‘Eve Of Destruction’ put a certain amount of strain on the duo. Nevertheless, the years 1965 and 1966 were their most commercially successful. Joyous, euphoric pop still poured out of them. Perfect pop gems such as ‘Can I Get To Know You Better’, ‘You Baby’, ‘Where Were You When I Needed You’ and ‘I Found A Girl’ were all major successes and are all featured here. Inevitably, it couldn’t last. The artistic and commercial pressure they were under – not to mention their increasingly divergent musical paths – forced a premature split. Steve Barri stepped in as replacement for the departing Lou Adler as staff producer at Dunhill, while Sloan’s burgeoning career as a singer-songwriter dissipated, though has recently undergone something of a renaissance. This marvellous collection of classics and rarities should seal Sloan & Barri’s reputation as key chroniclers of their time. By Harvey Williams (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - You Heard Them Here First - Rock's Icons Before They Were Fa Everyone has to start somewhere, even famous rock stars. Not many of them achieved stardom with their first record. That’s the theme of “You Heard Them Here First”, a collection of two-dozen cuts by big name acts, all recorded before anyone knew them from Adam. Take Arthur Lee, wigged-out lynchpin of the band Love, who in his early dues-paying days briefly fronted an obscure instrumental combo. The MGs were a big noise in Memphis, but few folk in Los Angeles got to hear the L.A.G.s. Now’s your chance. Or Marty Balin, who, long before Jefferson Airplane took off, tried his hand at teen idol-dom, seemingly unaware the world already had a Gene Pitney, a Ricky Nelson and a Bobby Vee. Who knew? Everyone knows the Righteous Brothers, but not many are familiar with Bill Medley’s previous group the Paramours, blue-eyed Coasters clones extraordinaire. Motown kyboshed the Mynah Byrds’ chances of stardom by cancelling the release of their single; no one knew who Neil Young and Rick James were at the time. Young’s later back-up band Crazy Horse recorded in earlier guises too, amongst them the Rockets, while the Beefeaters osmosed into the Byrds, Ry Cooder and Taj Mahal started out in an unknown group named the Rising Sons and Gram Parsons cut his teeth in the International Submarine Band. Bob Dylan knew a good thing when he heard it and he heard it in Levon & the Hawks, who teamed up with him and changed their name to the Band. The Pigeons found few takers until they slowed things down and re-launched themselves as Vanilla Fudge. Hear all these bands here. Danny Lee, anyone? We know him now as genius songwriter Dan Penn. What about Link Cromwell? Where would Patti Smith be without Lenny Kaye? How does Mark Robinson grab you? Just a quick listen is all it takes to identify the unmistakeable bass voice of Lee Hazlewood. Nilsson’s first chart record dates from 1969, but he’d been scratching around in the music biz for years by then, writing songs for the Ronettes, singing demos for Little Richard and recording singles under pseudonyms like Bo Pete. Collectors will tell you it’s invariably the records made by well-known artists before they were famous that are the hardest to find and the most expensive to buy. Expect to fork out over £500 for an original copy of ‘Liza Jane’ by Davie Jones with the King Bees, the fabled first single released by the lad who grew up to David Bowie, for example. By purchasing this CD, you save yourself a small fortune and get pre-fame recordings by Lou Reed, Joe Cocker, Cher, Mike Nesmith, Peter Frampton, J.J. Cale, Warren Zevon and P.F. Sloan thrown in for good measure. BY MICK PATRICK (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - You Tore My Brain ! - Unissued Sixties Garage Acetates Vol 5 Clobberin’ fifth volume of brutal unissued garage crunchers |
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Norton Records 2010 | LP | 13.00 € |
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| Vanilla Fudge - Vanilla Fudge |
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Sundazed Music 2004 | LP | 20.00 € |
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| Variations - Dig Em Up |
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Collectables 1996 | CD | 13.00 € |
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| Velvelettes - The Best Of 19 tracks |
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Spectrum Music 2001 | CD | 10.00 € |
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| Velvet Underground - The Velvet Underground 180 gram vinyl |
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MGM Records | LP | 15.00 € |
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| Venturas - Here They Are ! Guitar Instrumentals |
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Drum Boy Records | CD | 18.00 € |
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| Ventures - Christmas Album As rock’s biggest-selling and most influential instrumental combo, the Ventures are one of America’s most iconic bands. Long before anyone had heard of the Beatles, the Ventures influenced kids around the world to invest in electric guitars. The quartet delivered a sleek, instantly recognizable sound whose influence spread as far as Japan, where they remain bigger-than-life superstars. Having recently celebrated the group’s 50th anniversary as well as their induction into the Rock and Roll Hall of Fame, the Ventures continue to exercise a massive influence on nearly every instrumental guitar band that followed them. The Ventures were also one of the first rock acts to conquer the album market, selling large quantities of their LPs at a time when rock ’n’ roll was still largely a singles medium. One of the band’s best-loved longplayers is The Ventures’ Christmas Album. Originally released in 1965, it finds the foursome—featuring the legendary guitar-slinging frontline of Bob Bogle, Nokie Edwards and Don Wilson—applying their trademark style to a dozen familiar yuletide tunes, including “Sleigh Ride,” “Santa Claus Is Comin’ to Town,” “Jingle Bells” and “White Christmas.” The Ventures soup up these seasonal standards by adding snazzy guitar phrases that quote then-current rock ’n’ roll hits by the likes of the Beatles, the Searchers and Johnny Rivers, as well as a few older Ventures classics. In the years since its release, The Ventures’ Christmas Album has remained a holiday favorite, as well as one of the most popular items in the band’s catalog. Tracks from the album continue to grace the radio airwaves during the holiday season, and are regularly included on Christmas-themed compilation albums. But the best way to experience these instrumental gems is on the complete original vinyl LP. Sundazed Music has mastered this vintage gem from the original analog tapes and pressed it on 180 gram vinyl, with complete original cover art. |
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Sundazed Music 2010 | LP | 20.00 € |
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| Vernons Girls - We Love The Vernons Girls 1962-1964 In popular music terms, the Vernons Girls story had it all. Girls, first and foremost; a lightning flash of late fifties rock ‘n’ roll, the dawning of pop culture on TV, more girls, the start of the swinging sixties, Mersey Beat, the rise and rise of the Beatles; and still those girls kept coming. There was even ‘the beautiful game’ and a few score draws thrown in for good luck too.Assembled from employees of Vernons Football Pools in Liverpool, the original 70 piece choir quit singing about Nymphs and Shepherds and became TV regulars on ‘6.5 Special’ and ‘Oh Boy!’ as a 16 piece wearing short shorts, white bucks and saddle shoes. Various girls left to carve out careers of their own - Lyn Cornell, The Breakaways and The Ladybirds - becoming the backbone of the studio session circuit for the next two decades. By 1962, a slimmed down trio of Maureen Kennedy, Frances Lee and Jean Owen arrived at Decca Records and some serious hit making began. From that opening shuffle of Clyde McPhatter’s ‘Lover Please’, the girls meant business with further UK takes on US girl group classics ‘The Locomotion’, ‘Do The Bird’ and ‘Tomorrow Is Another Day’ as well as creating a home grown girl group classic of their own - ‘Only You Can Do It’ - from the only man who could, Charles Blackwell. Novelty numbers ‘You Know What I Mean’ and ‘Funny All Over’ returned the girls to their musical roots sung in the Scousest tongue in cheek this side of Bootle. All tracks sparkle with a variety of musical styles shining through on this new collection - the first to compile their complete Decca output including swansong ‘It’s A Sin To Tell A Lie’ and sleeve notes contributions from original member Jean Owen, later to become RPM Dream Babe, Samantha Jones. We love the Vernons Girls at RPM and can guarantee this proto-Brit girl compilation in all but name will ensure you do too! Complete Decca recordings of The Vernons trio line up all in one placeImportant proto Brit Girl groupExclusive input from original group members plus their archive photosNew digital re-master from original Decca master tapes. |
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RPM Records 2010 | CD | 17.00 € |
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| Vince Eager - Yea! Yea! It's Vince Eager 25 tracks |
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Rollercoaster Records 2003 | CD | 19.00 € |
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| Vince Taylor - Black Leather Rebel 16 tracks |
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Rebel Records 1992 | CD | 15.00 € |
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| Vince Taylor - Jet Black Leather Machine Who Vince Taylor was depended on who you were, and who he wanted you to think he was. To his parents, he was Brian Holden from Middlesex. London’s rock’n’rollers of the late 1950s saw Vince Taylor, the dapper American encapsulation of the music. To France of the early 60s he was the black leather rebel, their very own Gene Vincent, wild and never to be tamed. His bandmates of 1965 saw the new Jesus, the son of God. For David Bowie, the rise and fall of Vince Taylor was the inspiration behind Ziggy Stardust. In 1996 Bowie told the BBC’s Alan Yentob that Taylor was “out of his gourd. Totally flipped. He came out on stage in white robes and said he was Jesus Christ. It was the end of Vince – his career and everything else.” Bowie recalled meeting Taylor in mid-60s London, outside Charing Cross Station. Opening a map on the pavement, Taylor got a magnifying glass out and showed the aspiring rock star the sites where UFOs would land. Beyond the stories, you have the music. Taylor composed the classic ‘Brand New Cadillac’ – one of the few moments in British rock’n’roll that stands with its American influences. The Clash covered it, Mungo Jerry rewrote it as ‘Baby Jump’ and it was a standard for mid-60s beat groups like the Renegades. The second release on Chiswick Records – the forerunner of this label – was a March 1976 reissue of ‘Brand New Cadillac’. It had become one of the most popular records on the rock’n’roll circuit and was a sure seller. This compilation brings Vince Taylor home. Jet Black Leather Machine is the first compilation to tell the Vince Taylor story, drawing from all his important musical moments, all the important phases of his music. His complete British recordings are married to the cream of his French-made material for the first time. ‘Jet Black Machine’, a UK single from 1960, is incredibly kinetic rock’n’roll. His powerful 1965 version of ‘My Baby Left Me’ is unmediated, as wild as it can get – did his French label think that this roar was the logical evolution of pop? His take on ‘Long Tall Sally’ is equally abandoned. ‘Hi Heel Sneakers’, also from 1965, is animalistic. Then there’s the creepy ‘Rock’n’Roll Station’, a 1976 collaboration with experimental musician Jac Berrocal. Extreme, multi-faceted and hyper-real, often at the same time, Vince Taylor was the Jet Black Leather Machine. By Kieron Tyler |
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Ace Records 2009 | CD | 18.00 € |
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| Vince Taylor - L'epopee du Rock |
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Universal Music 2003 | CD | 22.00 € |
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| Vince Taylor - Live At The Olympia Recorded Live at the Olympia, Paris, France by Europe 1. Track 1: Jan 61, Tracks 2-6 Apr 65, track 7 Nov 66. Rest are original studio recordings |
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Big Beat Records 1997 | CD | 19.00 € |
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| Vince Taylor - Tendres Annees 60 20 tracks |
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Universal Music 2009 | CD | 13.00 € |
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| Vince Taylor - Vince ! originally released 1965 |
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Barclay 2008 | LP | 25.00 € |
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| Vince Taylor & His Play-Boys - The Complete Works 1958-1965 3CD |
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Universal Music 2012 | CD-Box | 35.00 € |
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| Vintage - Live Great UK instro group. Six tracks. Picture sleeve. Very rare EP - only made in the UK. Liner notes by Dave Sampson. |
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Triola | Single/EP | 5.00 € |
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| Wailers - At The Castle The most influential early Northwest combo at their very wildest, live n’ loud in 1963 at the legendary Spanish Castle with full revue including fifteen year old sensation Gail Harris & the late, everso great Rockin’ Robin Roberts! Reissued with gorgeous original jacket, mega monstrous Nortophonic Loud Sound! Outta print for way too long! Lush packaging, in-depth interviews, pix and info plus two bonus cuts! Essential stuff for all ye who demand unrelenting howling excellence! Yeah |
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Norton Records 1998 | LP | 13.00 € |
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| Wailers - At The Castle / & Co These two classic albums were rock'n'roll 101 for the musicians of the Pacific Northwest in the 1960s. Hear the band and the songs that inspired a legion of kids to pick up a guitar and get down and dirty. Our Etiquette Records series continues with two early 1960s vintage albums, loaded with bonus tracks, in-depth liner notes and rare pix, that showcase the Fabulous Wailers and their rockin' Northwest revue: we can now all vicariously share in a taste of that Spanish Castle magic. BUCK ORMSBY writes Bobby "Blue" Bland, James Brown, Freddy King: the Wailers all had that roots music imbedded in us, we played black music but white people thought it was ours. It was our interpretation of it. When we leaned into that stuff, it was probably after Rich Dangel had been in the service and picked up on it. Rich was the driver there, he was a real music person and he absorbed and he learned. He was the guy who every time I saw him he'd have his guitar in his hand. And Rockin' Robin Roberts and Gail Harris, the singers, they would choose their material too, bringing it back to the group to learn. Man, that was a great time for us, because everyone was contributing. We just did what we felt was real good and had the best feeling to it. The Wailers was a good foundation for all of the local musicians in the Pacific Northwest, because we got into it with a bit more depth, as to where we took our music and our ideas from. We were really listening a lot, and going and seeing these great R&B performers who had these shows together that were so tight. But any time we recorded anybody else's tunes, the idea was to make it your own. And the kids would come up at the dances and go wow, these are your songs. This was before anybody had focused on their writing skills. We were in another situation, where we had to create our own music. The creativity was starting to happen with our instrumentals, it was starting to gel-.-you could do that, you didn't need somebody else's song to go into a recording studio, and that was kinda what prompted us to record. We knew we had to follow up our Louie Louie hit with something, we knew we had to do another project - everybody at the time said we couldn't do our own album, like they had said, you can't have your own label. We just went ahead and did it anyway! These Etiquette reissues are shaping up to be one of the most dynamic, well-thought out presentations of the history of the Etiquette Records label to date. It's a continuing story, with in-depth liner notes, interviews, and the details behind the first artist-owned independent rock'n'roll label to promote Northwest music. Now, who would have thought that our musical efforts and recordings, made forty plus years ago, would stand the test of time enough to warrant this meticulous and special attention that Alec Palao and the Ace people in London have given the material? The Wailers, Sonics, Galaxies, and the several other artists who were part of the Etiquette family would be proud. |
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Ace Records 2003 | CD | 17.00 € |
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| Wailers - Everywhere/Out Of Our Tree 2 LPs = 1 CD = 29 tracks |
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Ace Records 2003 | CD | 17.00 € |
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| Wailers - Fabulous Wailers THE TALL COOL ONES by David Burke of Pipeline Magazine Although their musical career extended right through until the late 60s, the Wailers were originally very much a product of the 50s. Formed in the north-west corner of America in 1958, they spent 18 hectic months learning the basics of their trade, scrambled a recording contract with New York label Golden Crest, and by May 1959 had scored a Top 40 hit with Tall Cool One. The sad fact is though, mention the name the Wailers to most mainstream musical types and the chances are that the name of reggae king Bob Marley will come back to you. For rock'n'roll folk, however, the real Wailers will always be the boys from Tacoma, who stirred it up real good many years before Bob had even arrived. Think about the crop of top rock instrumentalists of 1959 and your mind automatically goes to people like Duane Eddy, Johnny & the Hurricanes and the Champs. The Wailers had a rather different character to their more sound-of-the-moment rivals. The sound they seemed to be striving for was that which had regularly featured on the Specialty label circa 1956-58, and their big idol was Little Richard. The absence of a pukka electric bass on their Golden Crest recordings and the inclusion of pumping piano and raucous sax also serves to strengthen the comparison. Listen to Dirty Robber, the sole vocal track from their debut album, and the influence of the Georgia Peach is immediately obvious. Lyrically the track provides an interesting contrast too. Whilst songwriters in the encroaching world of pop were dreaming up female fantasy figures in the shape of teenage princesses, vocalist Kent Morrill was referring to his female companion as a dirty robber - who even stole my guitar! Fabian would have no doubt choked on the words. The Wailers were not a one trick band either. Their other major source of inspiration, which greatly served to increase their unique-ness, was modern jazz. In fact the band's leader, Johnny Greek, was a trained trumpeter and had then only recently switched to guitar. Listen to Driftwood from their album and you are suddenly transported to a smoky Greenwich Village jazz club as Greek does his best to out-cool stylists such as Miles Davis and Chet Baker with his own low-down haunting trumpet blues. Their talent did not stop there, as not only did they compose Tall Cool One themselves, but they also wrote their entire first album! This was extremely unusual at the time, especially from a band still in their teens. It was high quality material too, good enough to attract the attention of the Ventures who recorded no less than three of their compositions. Their #68 follow-up Mau-Mau was also an original composition and features John Greek on flugelhorn, surely a rare chart appearance by the instrument in a lead role. The band's final chart placing came in April 1964 when, with the second bite of the cherry, they re-ascended to an almost identical #38 position with the re-release of Tall Cool One. Down the intervening years the Wailers have been appallingly treated by the bootleggers. The real sound of genuine Golden Crest masters is magic, but you would never know that by listening to the distorted, shrill junk that they have provided. Now, thanks to Ace's legendary care, we can all enjoy the true magnificence of the Wailers' sound as it was meant to be heard. Not only have Ace succeeded in locating the original master tapes, but there are also a further four never-before-issued tracks to enjoy! This high-class release deservedly puts the name of the Wailers back in the hands of its true originators. |
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Ace Records 1998 | CD | 17.00 € |
