60s / Beat / Folk etc
Result of your query: 1101 products
| Daddy Long Legs / Andy Shernoff And Daddy Long Legs - Cocksucker Blues / The Under Assistant West Coast Promotion Brooklyn's fiercest blues stompers hammer out the legendary banned Stones number! Decca's trash becomes Norton's treasure! The long legged lads lend fiery support to the Dictators tunesmith on the B-deck! Both sides produced by Andrew Loog Shernoff! |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Dee Dee Sharp - It's Mashed Potato Time / Do The Bird Operating out of Philadelphia, Cameo-Parkway was among the most successful independent record companies of the early 1960s, turning out a veritable production line of teen-friendly singles by artists such as Chubby Checker, the Orlons, the Dovells, Dee Dee Sharp and Bobby Rydell. This month sees the release on Ace of the latest batch of collections from the vaults of Cameo and sister logo Parkway in the shape of twofers from Dee Dee Sharp, the Dovells and self-appointed “Cool Ghoul” John Zacherle. Gospel-trained Dee Dee Sharp had three years experience in the record biz by the time she made her first showing on the charts singing anonymously alongside Chubby Checker on ‘Slow Twistin’’ in 1962, having paid her dues providing background vocals on records by artists such as Freddy Cannon, Ray Charles, Jackie Wilson, Lloyd Price and Fabian. Her first solo single, released when she was just 16, zoomed up the Hot 100 too, as did a clutch of others over the next couple of years. When the Beatles came along, the hits dried up for Dee Dee, but she was soon snapped up by Atlantic Records, only to find herself in competition with Aretha Franklin. Sometimes life just ain’t fair. Here on this paring of her first two long-players, you get three of her biggest charters, some original tunes from the Cameo song factory plus knockout versions of other hits of the day. To hear her wail Ted Taylor’s ‘Be Ever Wonderful’ is a joy to behold. The booklet contains an essay by Ed Osborne featuring some fun quotes from Dee Dee herself. By Mick Patrick (ACE RECORDS) |
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Ace Records 2010 | CD | 17.00 € |
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| Dick Dale And His Del-Tones - Mr. Eliminator |
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Sundazed Music 2010 | LP | 20.00 € |
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| Elvis Presley - Viva Las Vegas originally released 1964 |
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Sony Music 2010 | LP | 20.00 € |
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| Gene Pitney - The Many Sides Of Gene Pitney / Only Love Can Break A Heart the first two Musicor albums (1962 + 1963) on one CD. 26 tracks |
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Cherry Red Records 2010 | CD | 15.00 € |
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| Georgie Fame - Mod Classics: 1964-1966 Georgie Fame, the Flamingo All-nighter, mods and GIs. These are the things that dreams are made of. Whilst a mid sixties Rod Stewart might have claimed that it was his ambition to sing with Count Basie, it was Georgie who actually did it. And whilst the Who and the Small Faces had a legion of moddy boy fans in the middle of the decade, it was Georgie who was championed by the Soho ace faces a couple of years earlier. Although the Fame monicker was the invention of Larry Parnes, it was the erstwhile Clive Powell who made it his own by taking a Jon Hendricks jazz song to the top of the UK jazz charts in 1964. Georgie had the hippest musical credentials and the ability to take jazz, soul and R&B to the top of the pop charts without compromising or selling out. Polydor Records has a wonderful “Beat Classics” CD available that covers Georgie’s biggest hits so we have devised our “Mod Classics” as an alternative view with only a little crossover with that release. We take in the period between early 1964 and late 1966 when Georgie’s records appeared on Columbia Records and he was backed on record by either the Blue Flames or the cream of the UK’s jazz musicians in the Harry South Big Band. We have decided to pass by Georgie’s ska recordings as they are for another time and place, so we have filled the grooves with Georgie’s takes on soul, jazz and R&B hits. From his first LP “Live At The Flamingo” we have the band swinging their way through Oscar Brown’s ‘Work Song’ and ‘Parchman Farm’ whose composer, Mose Allison, was one of Georgie’s heroes and influences. By the time of his second album “Fame At Last” Georgie was tackling obscure records from the then unknown Stax label – William Bell’s ‘Monkeying Around’ – taking on Louis Jordan’s arrangement of ‘Point Of No Return’ and also numbers by Major Lance and Ray Charles. In each case he made each song his own, stamping his own vocal mark on each and every one. His next album was 1966s ‘Sweet Thing’ which featured less jazz and more soul, as Don Covay’s ‘See Saw’, the Spinners’ title track, cuts by Stevie Wonder, The Mar-Keys and Sam Cooke were all taken on. We’ve also included a version of Earl Van Dyke’s ‘Soul Stomp’ from around the same period that has only previously been released on a Japanese CD. 1966 saw a second album, “Sound Venture”, which is perhaps Georgie’s finest moment. Recorded with the Harry South Big Band, Georgie’s voice more than holds its own. On ‘Dawn Yawn’ Georgie writes a wonderfully evocative tale of Soho’s night-life and the inevitable come-down the day after, whilst his version of Willie Nelson’s ‘Funny How Time Slips Away’ is a masterpiece of vocal delivery, and the best version of this much-covered song bar none. We have also rounded up EP cuts from Georgie Fame’s Fats domino tribute EP, some excellent cuts that were only on 45 such as ‘Yeah Yeah’’s B-side ‘Preach and Teach’, the B-side of Georgie’s second Columbia number one ‘Getaway’ a thunderous latin-tinged instrumental called ‘El Bandido’ which is a sure-fire dancefloor winner, and the self-penned single ‘Something’. We feel that a compilation like this was a must for many years and we are very glad that we are the ones to have done it. By Dean Rudland (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Gerry And The Pacemakers / The Hollies - Classic Icons 2CD |
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Emi Records 2010 | CD | 10.00 € |
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| Goodees - Condition Red ! The Complete Goodees As 1968 drew to a close the golden age of girl groups had seemingly been and gone. The Shangri-Las, the Ronettes and the Chiffons hadn’t had a sniff of a hit record since 1966. Then along came the ominous ‘Condition Red’, a cleverly-produced psychodrama enacted by the Goodees, a trio of foxy teenagers from the roster of Stax Records’ small rock-oriented Hip offshoot. The group comprised childhood pals Sandra Jackson, Judy Williams and Kay Evans, all residents of the Sherwood Forest neighbourhood of East Memphis, Tennessee. The group’s previous single, ‘For A Little While’, penned and produced by Stax’s top songwriting duo Isaac Hayes and David Porter, was one of the last sessions to feature the original Bar-Kays, who perished alongside Otis Redding in that fateful plane crash in December 1967. Production duties then shifted to the Detroit-based team of Don Davis and Freddie Briggs, the brains behind ‘Condition Red’, which brilliantly re-cast the group as ladies in waiting to the Shangri-Las. The success of the single led to the release of the girls’ “Candy Coated..Goodees” LP, a mix of original material with covers of familiar numbers. To hear the lyrics of the Swingin’ Medallions’ ‘Double Shot’ sung by girls must have raised a few eyebrows at the time. The Goodees’ third 45, ‘Jilted’, was another intriguing and complex number, but was there a market for a four-minute opus about a knocked-up teen dumped at the altar? That there wasn’t soon became apparent and this rich slab of Southern Gothic sank without trace. Their final single ‘Goodies’, written and produced by giants of Southern soul Dan Penn and Spooner Oldham, went the same way, just as the girls hung up their rock’n’roll shoes. This collection contains every known recording the Goodees made, 18 of which are making their CD debut. In addition to the complete “Candy Coated..Goodees” album are four sides drawn from non-LP singles and seven previously unissued titles. ‘Show Me How’, ‘Last Of The Good Guys’, ‘Have You Ever Hurt The One You Love’ and the alternate version of ‘Didn’t Know Love Was So Good’ all emanate from the trio’s early Memphis sessions with Hayes and Porter. Produced by Penn and Oldham, ‘Angry Eyes’ and ‘Love Me Love’ were cut in Muscle Shoals, Alabama. The final track ‘Love Pill’, to the best of Sandra’s memory, was recorded as a demo at American Studios in Memphis. The set comes with a booklet featuring notes based on an exclusive interview with Sandra, illustrated with a host of rare memorabilia and gorgeous photographs from her collection. By Mick Patrick (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Jefferson Airplane - Live At The Fillmore Auditorium 2CD Unreleased Live. Two CDs featuring two November 1966 dates where the band really takes off ! |
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Collectors Choice Music 2010 | CD | 10.00 € |
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| Jimi Hendrix - Band Of Gypsys recorded live new year's eve 1969-70 at Fillmore East In New York |
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Music On Vinyl Records 2010 | LP | 25.00 € |
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| John Pearse - The Lost 1966 Waldeck Audition (1CD DigiPac - four panel - with booklet. 18 tracks. Playing time: 41:45) -- This set contains informal backstage tapes, previously thought lost, from 1966 Waldeck Festival. John Pearse has near-mythic status among guitar players, builders & designers. 'The folk guitarist who taught the protest generation how to play' - The 'Guardian' (UK). John Pearse is 'The Nation's guitar teacher.' 'stern' (Germany). Pearse recorded now-collectable albums like 'Guitar Train' (1958) and 'Blues, Rags & Raga' (1972) and hosted 1980s PBS show 'String Along.' 'Pearse provided us with the right tools to play better music.' - Chris Hillman. He designed strings used and endorsed by Doc Watson, King Crimson & Dixie Chicks. -- To many students of folk and blues guitar, John Pearse was a hero - the man who taught, performed, and helped popularize the genre. 'He left his mark on the musical world,' says Cindy Cashdollar. -- This is high praise, and it hardly stops here. Bear Family Records offers a unique glimpse of this highly esteemed musician, drawn from these informal, unguarded performances. The 18 tracks presented here - for the first time ever - showcase Pearse backstage at the Waldeck Folk Festival in 1966. Pearse appeared at this premier German festival on four consecutive years, between 1965-68. The tapes offer a rare glimpse of his casual, non-studio persona. Unless you were in the first ten rows, you wouldn't have heard him so clearly. -- Pearse taught designing, building and playing of stringed instruments to countless members of a European and American audience through his BBC, ITV and PBS shows - more than he could have ever reached through the endless touring of folk venues. -- Despite his untimely death in 2008, John Pearse continues to reach an appreciative audience. The unmarked reel-to-reel tapes that gave rise to this unexpected CD will delight his legion of fans and draw new listeners to him. |
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Bear Family 2010 | CD | 17.00 € |
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| John Zacherle - Monster Mash / Scary Tales Operating out of Philadelphia, Cameo-Parkway was among the most successful independent record companies of the early 1960s, turning out a veritable production line of teen-friendly singles by artists such as Chubby Checker, the Orlons, the Dovells, Dee Dee Sharp and Bobby Rydell. This month sees the release on Ace of the latest batch of collections from the vaults of Cameo and sister logo Parkway in the shape of twofers from Dee Dee Sharp, the Dovells and self-appointed “Cool Ghoul” John Zacherle. John Sebastian did the notes for the John Zacherle set. Yep, that John Sebastian, he of the Lovin’ Spoonful. It seems he was a bit of a Boris Karloff fan, which is how he first became aware of John Zacherle, who hosted re-runs of old horror movies on WCAU-TV out of Philadelphia in the late 1950s. The craze for scary movies spread to the record biz, which led to Zacherle reaching #6 with ‘Dinner With Drac’ in 1958. (OK, we’re a bit late for Hallowe’en with this release, but hey, there’s always next year.) By Mick Patrick (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Lords - In Black And White / In Beat And Sweet plus |
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Bear Family 2010 | CD | 18.00 € |
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| Lords - Some Folks By The Lords Plus |
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Bear Family 2010 | CD | 18.00 € |
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| Mamas & The Papas - If You Can Believe Your Eyes And Ears Upon its release in 1966, the Mamas and the Papas’ debut LP If You Can Believe Your Eyes and Ears introduced a fresh new sound that would permanently alter the face of contemporary popular music. Leader John Phillips’ visionary producing, arranging and songwriting abilities combined with the quartet’s breathtaking harmonies to make music that was both effortlessly accessible and creatively adventurous. The album quickly topped the Billboard album chart, bringing folk-rock into the pop mainstream and making Phillips, his then-wife Michelle Phillips, Denny Doherty and Cass Elliot into instant multimedia celebrities. In the years since its release, If You Can Believe Your Eyes and Ears has come to be regarded as one of the finest pop albums of the ’60s and one of the best debut releases ever, as evidenced by its ranking at Number 127 on Rolling Stone’s list of the 500 greatest albums of all time. If You Can Believe Your Eyes and Ears was the product of Lou Adler’s visionary production, Phillips’ savvy studio mastery and the foursome’s extended period of musical woodshedding in the Virgin Islands. The months of meticulous rehearsals paid off in the group’s ability to emerge as a fully-formed musical unit right out of the box, delivering such instant classics as “California Dreamin’,” “Monday, Monday” and “Go Where You Wanna Go” to the willing ears of record buyers and radio listeners. At the time of If You Can Believe Your Eyes and Ears initial release, the presence of a toilet in the periphery of the album’s cover photo caused faint-hearted moral guardians to pressure the group’s record company to excise the offending fixture from subsequent pressings of the album. Sundazed’s new vinyl edition of If You Can Believe Your Eyes and Ears restores the rare, long-missing “toilet” cover, and features the album’s superior original mono mix. It’s also mastered from the original analog tapes, and pressed on high-definition vinyl—the better to maintain the same joyous sense of discovery that listeners felt when first hearing this timeless gem in 1966. |
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Sundazed Music 2010 | LP | 19.00 € |
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| Midnight Shots - 4 Shots Of R&B good spanish 60s influenced R&B |
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Discos Jaguar 2010 | Single/EP | 6.00 € |
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| Nautiloids - Nautiloids Reef / Nautiloids Surf Crude, spectacular unissued 1965 Maryland surf instrumentals! Forty-five years after it was recorded, the Nautiloids finally have their day-- on posh surf-color wax! |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Per Rannug - Gyldne Perler guitar instrumentals and beat music by norwegian Per Rannug |
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TC Produksjon 2010 | CD | 15.00 € |
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| Rationals - Fan Club Album For fans of the shiny black stuff, Big Beat is proud to present two different LPs by Ann Arbor’s finest, the Rationals this month. Last year’s “Think Rational!” compilation, the first legitimate repackaging of this storied combo’s mid-60s sides for the legendary A-Square label, was very warmly received indeed. The group’s distinctive brand of garage soul, so long the pride of their native Michigan, finally got the “respect” (pun intended) it deserves. And so, for the aficionados we offer these two extra special vinyl editions. The “Fan Club Album” is legendary in collector circles as one of the rarest 60s garage artefacts known to man – only three test pressing copies are confirmed to exist. Consisting of unreleased outtakes from the band’s earliest sessions in 1965 and 1966, the longplayer was intended as a farewell “thank you” to the groups loyal fanbase by the band’s producer and mentor Jeep Holland, when he parted ways with the Rationals in late 1968. Save for one cut, this reissue reprises the album’s original tracklist and running order, and comes with a new, fully illustrated sleeve. In fact two tracks (the instrumentals ‘Wayfaring Stranger’ and ‘Strawberry Jam’) and several of the versions do not appear on “Think Rational!” and are thus exclusive to this release. At the height of their popularity, there was much consideration of a Rationals album. Jeep even gave the project a title – “A-Soulin’ We Go With The Rationals”. Though the band recorded several of the selections Jeep had mapped out for inclusion, the record never came to fruition. But our “Out On The Floor” compilation approximates its contents, by collecting together the best material from the Rationals’ mid-60s garage-soul heyday, including such signature tunes as ‘Leavin’ Here’, ‘Temptation’s ‘Bout To Get Me’ and their big regional hit, ‘I Need You’. Mostly recorded at sessions in 1967 and 1968, when the beloved Michigan quartet was at the top of its game, it’s both a groovy spin for the hardcore Rats fan, and a power packed introduction for those who have yet to discover the blue-eyed magic of the mighty RATIONALS. By Alec Palao (Ace Records) |
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Ace Records 2010 | LP | 17.00 € |
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| Remo Four - Smile, Peter Gunn... And More (1-CD Digipak, four panel, with booklet. 17 tracks). -- One of the greatest Star-Club groups! Managed by Brian Epstein and later backed George Harrison on his 'Wonderwall Music' album ! Includes two top musicians of the UK Pop History, Tony Ashton and Colin Manley! British R&B par excellence. A sought after collectors' item! Rare bonus titles! -- Many Star-Club bands were audience favourites without becoming as big as the Beatles, who also started there. But there was one group that towered above their competitors for their outstanding musical quality, and it was another band from Liverpool, The Remo Four. In the early and mid-sixties the Remo Four became backing musicians for solo singers - and were among the best bands to ever touch the hallowed stage of the legendary Hamburg club. By 1967, they were among the best bands from England. - Charismatic singer/organ player Tony Ashton (1944-2001) and guitarist Colin Manley (1942-1999) were brilliant instrumentalists, and their solos were solidly backed by the band's rhythm section: ace drummer Roy Dyke and bass-player Phil Rogers. The Remo Four were the first among equals with an excellent fusion of rhythm, blues, brass-free soul and even gospel snippets - with Tony proving how such a mixture could be sung perfectly and soulfully alike. - Songs such as Sing Hallelujah, Brother Where Are You, the fantastic Jive Samba, to name but a few, are excellent examples of the quartet's outstanding groove. Their greatest success had come in 1966 with the Peter Gunn instrumental, which made them stars in Germany after a legendary live performance on the famous 'Beat-Club' TV show. - These days The Remo Four's only album 'Smile!' is insanely rare and expensive as an original, but even the CD edition - off the market for many years - has become a sought-after rarity. Now this outstanding slice of mid-Sixties music is available again with eight extra songs (A&B sides of two singles plus four tracks unreleased at the time). With this fabulous release, Bear Family finally fills in a missing link in the musical story of the 'Swinging Sixties'. |
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Bear Family 2010 | CD | 18.00 € |
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| Renegades - Cadillac / I Was There The definitive "Cadillac" from this revered 60's beat combo from Birmingham, England! Batched with their unlauded killer ballad flip "I was There"-- top rank, essential blasting. Detail-hounds make note-- both our Renegades singles come with UK punch-out centre holes! Welcome to Norton, Renegades! |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Renegades - Thirteen Women / Can't You See Savage mauling of Haley romper backed with moody, attitudinal flip! All hail Kim Brown and the fabulous Renegades! All recordings on our two Renegades seven inchers were recorded in Finland, where the Renegades held sway as the toppermost of the ravin' poppermost! Absolutely essential-- don't risk the embarrassment of not having these blasts in your collection! |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Rumblers - It's A Gas Boss! When Californian group the Rumblers hit the American charts with their single ‘Boss’ in February 1963 the word, used locally by the surfing community to describe anything they regarded as cool, was adopted by teenagers across the nation. This word-association with surf culture, and the concurrent success of the group’s label-mates the Chantays with their Top 5 hit ‘Pipeline’, led to the Rumblers being classified by many as a surf group. But this was far from the truth. With Joe Houston’s ‘All Night Long’ as their theme song they were a sharp R&B band, described by their bass player Wayne Matteson as a black group with white skin: “We did a lot of James Brown tunes … We dressed well, and we had all of our songs choreographed.” Naming themselves after Link Wray’s 1958 hit ‘Rumble’, the group’s first release paired the instrumentals ‘Stomping Time’ and ‘Intersection’ on the small Highland label which secured them sessions at the famed studio in Downey, California attached to Wenzel’s Music Town record store. Here, a take-off of the Strangers’ 1959 hit ‘Caterpillar Crawl’ evolved into the number they named ‘Boss’. And no wonder it became a hit, the opening bars carry one of the all-time catchiest intros. A frantically whammied low note from guitarist Mike Kelishes precedes a four-to-the-bar bass drum beat that is developed into a hypnotic riff by bass guitar, building in intensity as first guitars and then sax join in. Half a dozen bars of primal pounding and you’re hooked. Simple, but oh so effective. A couple of early Rumblers compilation CDs have long since become sought after collector’s items, but “It’s A Gas!” surpasses them all by being a far more comprehensive selection. And in true Ace fashion it is taken direct from the best sources bringing vastly improved sound quality. The accompanying booklet features an informative essay from compiler Brian Nevill telling the full story of the group plus loads of never-before-seen pictures from the collections of the Rumblers themselves. In addition to the best of the group’s singles for Downey and Dot and selections from their “Boss” LP, there are CD debuts for both sides of the Highland single and a later 45 released under the name of the Interns. If that wasn’t enough there are no less than 10 tracks new to a Rumblers CD including four totally unreleased recordings in the shape of ‘Warhead’, ‘Why Did You Make Me Cry’, ‘Freight Train’ and ‘Strawboss’. With all their best in one package, “It’s A Gas!” is the definitive collection of the Rumblers and is a compilation that surf and instrumental fans will find irresistible – it’s a boss gas, man! By Alan Taylor and Dave Burke of Pipeline, the rock instrumental magazine (Ace Records) |
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Ace Records 2010 | CD | 18.00 € |
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| Tandoori Knights - Gomper / 2120 South Michigan Avenue |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Terry Knight And The Pack - Terry Knight And The Pack / Reflections Before Tamla/Motown, there was Cameo/Parkway. A groundbreaking Philadelphia imprint, the label churned out an astonishing number of huge hits (most written in-house) during its 12-year heyday and turned a gaggle of unknown young locals into stars. Sound familiar? Although primarily remembered for its myriad dance craze hits, the catalogue actually encompasses the whole of rock’s golden era: instrumentals, novelties, doo wop, girl groups, soul, teen idols, British Invasion, garage bands and bubblegum, etc. Label honchos Bernie Lowe, Kal Mann and Dave Appell spared no expense, releasing singles with beautiful colour picture sleeves and flooding the market with an unprecedented torrent of LPs. Cameo-Parkway material has been unavailable for decades, and collectors have waited impatiently for many years for the hits to make their digital debut. A label overview in 2005 and a few subsequent hits packages skimmed the surface. Out this month on Ace are 10 full albums on five CDs, along with a compilation of vocal group classics. The floodgates are now open, and it’s just the tip of the iceberg. A little-remembered Michigan garage band, Terry Knight & the Pack touched the charts with their remake of ‘I (Who Have Nothing)’ and were mainstays of syndicated teen dance party show Upbeat. Their self-titled debut album and “Reflections” contain grungy originals and covers, but the band’s real breakthrough came a few years later when, with Knight producing and masterminding behind-the-scenes, they morphed into hard rock superstars Grand Funk Railroad. By Dennis Garvey (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| The Gaye Blades / The Girls At Dawn - Ruby Tuesday / That Girl Belongs To Yesterday |
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Norton Records 2010 | Single/EP | 6.00 € |
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| The Tiles - I Can't Sleep At Night / I Let Her Be SAARBRUEKEN, Germany 1966 GARAGE. NEVER-RELEASED Single. Recorded by German Radio. |
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Ugly Things 2010 | Single/EP | 7.00 € |
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| Thom Starr & The Galaxies - South Bay Surf - Anthology 1963-1964 Includes the legendary, never-before-issued 1963 Sons of the Beach album in its entirety! Thom Starr was one of the most talented of surf music’s first generation of guitar heroes. A legend on the original South Bay scene where the surf genre was created and nurtured, Starr wowed live crowds with his band the Galaxies, and made a handful of recordings that are revered by multiple generations of surf guitar devotees. Starr’s vintage work has been impossible to find, with most of his recordings remaining completely unreleased and with his few official releases long out of print. South Bay Surf: Anthology 1963–1964 redresses that situation by making this under-the-radar guitar god’s output accessible to the public in album form for the first time ever. This amazing Sundazed collection has been mastered from the original analog sources and features rare photos and a detailed history by surf music authority John Blair. A treasure trove of reverb-filled surf guitar! |
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Sundazed Music 2010 | CD | 18.00 € |
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| Tommy Steele - Come On, Let's Go - The Very Best Of 3CD This 3CD set featuring 17 UK Top 40 Hits. 68 tracks |
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Spectrum Music 2010 | CD-Box | 18.00 € |
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| Toni Sailer - Der Schwarze Blitz |
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Bear Family 2010 | CD | 18.00 € |
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| VA: - 1960s Rock & Roll from the Nashville Indies Nashville is known the World over as Music City and though it is mostly identified with country music it has always been a place where all types of music have been played and recorded. Buddy Holly, Gene Vincent, Little Richard and Elvis Presley all made some of their earliest recordings in Nashville. By the early sixties Rock & Roll was here to stay and labels big and small were beating the bushes to find talent. This collection focuses on some of Nashville’s smallest independent labels and their most obscure releases. It is a footnote in the long history of Nashville as The Music City and a fascinating glimpse into the small 1960s labels. |
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T-Bird Records 2010 | CD | 17.00 € |
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| VA: - Bo Diddley Is A Songwriter In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…) One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager. Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley. Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides. As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday. If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition! By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - British Beat Before The Beatles 3CD Loistava kokoelma BRITTI ROCKIA JA BEATia ajalta ennen the Beatlesia 1955-1962 |
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EMI Records 2010 | CD-Box | 29.00 € |
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| VA: - Buddy's Buddies 3CD Over the last three years, El Toro Records has been leading the field in systematically reissuing the neglected legacy of the late, great Buddy Holly. When Universal finally announced a box set of his complete recordings last year we thought that our task was over - but not so! The complete set turned out to be far from complete; so this final Buddy Holly release from El Toro Records has gathered the material ignored by the otherwise exemplary Universal box set, notably all those commercial recordings which featured Buddy as session-musician-cum-producer from his golden years of 1957-58 and a bonus CD to collate all the remaining radio/TV interviews and the live radio/TV/promo clips from 1958 that hadn't been featured in our previous volumes. Sandwiched in between, and taking advantage of our title of “Buddy’s Buddies”, we have a jam-packed compilation CD of talented Texas artists with whom Buddy crossed paths in the 1950s. Rave on!" |
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El Toro Records 2010 | CD | 23.00 € |
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| VA: - C'est Chic ! This time last year we were frantically preparing for the release on Big Beat International of Sheila Burgel’s “Nippon Girls: Japanese Pop, Beat & Bossa Nova 1966-1970” compilation (CDWIKD 288). The CD ended up drawing a very favourable reception, particularly from hip young sophisticates with a yen for something edgy and different to inspire them on the dance-floor. For the inaugural issue on our new Ace International imprint we stray a little less far from home, hopping just over the Channel to France, epicentre of the 1960s yé-yé girl phenomenon. Comprising 24 tracks by 20 acts, “C’est Chic!” features many of the premier female vocalists to emerge from France during the 60s. Also included are a few French-singing non-nationals, such as Cairo-born Liz Brady, Danish actress Anna Karina and ultra-chic half-French Londoner Louise Cordet, the girl who taught Paul McCartney to hully gully. Of all the yé-yé girls, only the exquisite Françoise Hardy was afforded the privilege of consistent British releases throughout the 1960s. Her catalogue is so consistently excellent that almost any of her recordings could have graced this collection. The pragmatic fatalism of ‘Voilà’ and the baroque loveliness of Nirvana’s ‘Tiny Goddess’, translated as ‘Je Ne Sais Pas Ce Que Je Veux’ by the lady herself, clinched their inclusion. Adorable cover girl France Gall, cult favourite Jacqueline Taïeb and top Gallic girl group Les Gam’s are also represented by two titles apiece. The majority of the songs here are French compositions, but not all; astute listeners will recognise some in their original English language versions. ‘We Got A Thing That’s In The Groove’ (a hit for US soul group the Capitols), ‘I’m Going Out With The Girls’ (original version: Barbara Chandler), ‘Laugh At Me’ (Sonny Bono), ‘Around And Around We Go’ (Lonnie Jay & the Jaynes), ‘He’s In Town’ (the Tokens) and ‘The Sha La La Song’ (Marianne Faithfull) are given a distinctive French twist by Charlotte Leslie, Les Surfs, Sheila, Louise Cordet, Ria Bartok and Marie Laforêt respectively. Co-compiler Malcolm Baumgart and I are currently immersed in the music of the yé-yé girls of Italy and Spain with a view to future Ace International releases. Also in the works is a collection of the compositions of Serge Gainsbourg, enfant terrible of the yé-yé generation, from whose vast catalogue ‘Roller Girl’ by Anna Karina, ‘Non, A Tous Les Garçons’ by Michèle Torr and ‘Laisser Tomber Les Filles’ by France Gall are among this groovy set’s other highlights. If the latter sounds familiar, you may have experienced it on a Tarantino soundtrack translated as ‘Chick Habit’ by April March. “C’est Chic!” comes with a gorgeously illustrated 24-page booklet featuring a 5,000 word track-by-track commentary. Much of the information was sourced from the Ready Steady Girls! website, a must-visit for all devotees of female yé-yé: www.readysteadygirls.eu By Mick Patrick (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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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: - Drumbeat / Saturday Club 2CD his excellent new 2CD set focuses on the popular TV show Drumbeat and the Saturday Club radio show. Featuring popular artists of the era including: Ricky Valance, Adam Faith and Cliff Richard. Many of the tracks available here are new to CD and features a plethora of hits from the time. This incredible 2CD set really captures the fun and excitement of the early Rock & Roll era and the two hit shows that millions tuned in to every week! |
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Jasmine Records 2010 | CD | 13.00 € |
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| VA: - Great British Skiffle Vol. 4 2CD |
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Smith & Co 2010 | CD | 12.00 € |
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| VA: - Have You Seen My Baby ? - Ember Sixties Pop Vol. 4 The celebration of the Sixties Pop side of Ember Records continues with the years 1964 to 1966. Have You Seen My Baby? is the fourth instalment of the series following on from Hello My Angel: Ember Sixties Pop Volume 3 (FVCD042). As well as singles, the label started releasing pop albums in this period and we have concentrated on selections from three fine LPs. The WASHINGTON DC’S gained their only album appearance by supplementing the two sides that the Dave Clark Five had cut for Ember. The LP was titled Dave Clark Five And The Washington DC’s, issued in August 1965. Although Dave Clark has since wisely scooped up his own back catalogue, six excellent performances by the Washington DC’s are reissued here for the first time. RAY SINGER’s January 1966 long-player For Those In Love gathered up five sides from his first three 45s. The third single I’m The Richest Man Alive / Pretty Little Ramblin’ Rose is included here together with four album-only tracks and Over The Weekend from a 1964 EP. A notable bonus is Ray’s previously unreleased version of The Girl Can’t Help It. The very next Ember album issued after Ray Singer was MARCUS TRO’s Introducing Marcus Tro. Six LP-only tracks, two of which showcase Marcus’s songwriting talents, get their first digital release on this compilation. CHAD & JEREMY continued their hit run in America and two of their biggest Willow Weep For Me and If I Loved You are represented in their mono single format. GRANT TRACY had recorded the Mark Wirtz written and produced numbers on this CD for Ember in 1965 but they were not issued at the time. The original albums are highly collectable (mint copies of Washington DC’s are valued at £30, and both Ray Singer and Marcus Tro at £40 each). Subsequent volumes will carry the story through to the end of the sixties, with further sought-after tracks included. The series is complemented by compilations devoted to beat and rock from the Ember vaults. Recordings are mastered from tape, where available, and booklets illustrated with sleeve and label shots. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Hey, Beach Girls ! Female Surf'n' Drag 1961-1966 To bridge the gap between volumes of “Where The Girls Are”, my oppo Malcolm Baumgart and I have taken Stephen J McParland’s recent book Bikinis, Black Denim & Bitchen Sounds* as our inspiration to concoct this fun new diversion to tide girl group buffs over. It’ll plug a few gaps in the collections of aficionados of surf, drag and hot rod music too, no doubt. The influence of California’s Beach Boys permeates “Hey, Beach Girls!” as it did the world of music in 1963. Brian Wilson and his cohorts had not long vacated the Top 3 with ‘Surfin’ USA’ when an opportunist East Coast record company exec with his eye on the latest pop fads dreamed up a plan to grab a piece of the action. Foisting the Surfer Girls moniker on a new teenage duo, he ushered them into the studio to parlay ‘Draggin’ Wagon’ to the very same tune. Meanwhile, over in Paris, France’s top girl group Les Gam’s flipped over the same Beach Boys platter to give ‘Shut Down’ their distinctive yé-yé treatment. Those who are familiar with the Big Beat comp “Board Boogie: Surf ‘n’ Twang From Down Under” (CDWIKD 211) will be aware that the craze for surf music spread as far as Australia, where Little Pattie & the Statesmen stormed the charts with ‘He’s My Blonde-Headed, Stompie Wompie, Real Gone Surfer Guy’ and ‘Drag Race Johnny’. Not much surfing went on in Detroit, but the landlocked Supremes dipped their toes in the water with ‘Surfer Boy’, one of a brace of numbers they got to chirp in the movie Beach Ball. Likewise in Philadelphia, epicentre of dance craze culture, where the Orlons and Dee Dee Sharp took a break from demonstrating the watusi and the mashed potato to cut ‘Surfin’’ and ‘Riding The Waves’ for the rare “Everybody’s Goin’ Surfin’” LP, both of which make their CD debut here. Further rarities include hideously obscure and collectable decks from the Westwoods, the Fleetwoods, the Beach Girls, Ellie Gee (short for Greenwich, natch) & the Jets, the Surfettes and Andrea Carroll, all of which are also new to CD. Among the other artists featured are Donna Loren with two cuts from her “Beach Blanket Bingo” album, Susan Lynne and Carol Connors – not forgetting, of course, Ginger, Diane and Brian Wilson’s wife Marilyn, otherwise known as the Honeys, without whom no surfing girls compilation would be complete. *For more gen on the book, email the author at cmusic@hotkey.net.au or visit: www.garyusher.com/cmusic By Mick Patrick (ACE Records) |
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Ace Records 2010 | CD | 18.00 € |
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| VA: - Just Around Bakersfield- Rock Bop Country |
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Classics Records 2010 | CD | 15.00 € |
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| VA: - Mit der Raupe fahr'n... Das waren noch Zeiten: Ab an die Raupe! Denn da lief die neueste Musik auf dem Freimarkt in Bremen, dem Oldenburger Krammermarkt, dem Hamburger Dom oder auf anderen Rummelplatz - Sausen. Discotheken gab's noch nicht - und wo sonst konnte man mit den Mädchen so schön flirten und bei geschlossenem Verdeck unbemerkt knutschen?! Die ersten Schmatzer in der Raupenbahn klingen bis heute nach, die Liebesschwüre hängen noch immer zwischen den alten Kufen der Bahn... Das Bremen - Eins - Team der 'Oldiebörse' holt diese unvergesslichen Erinnerungen und handfesten Gefühle zurück - die bei intensivem Hinhören plötzlich gar nicht mehr so alt erscheinen... Die RAUPENHITS der Oldiebörse, präsentiert von BEAR FAMILY RECORDS: ein Muss - nicht nur für den großen Rummel! |
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Bear Family 2010 | CD | 17.00 € |
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| VA: - Mostly Ghostly - More Horror For Halloween |
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Ace Records 2010 | 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: - One Night Stand - Recorded Live at the Granada, Edmonton recordings first published 1963 |
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Pastime Productions 2010 | CD | 17.00 € |
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| VA: - Phil Spector - The Early Productions In the early 60s, pop was a hidden industry whose interface with the public existed only at performance level. The big money wasn’t around then and the record game wasn’t seen as a legitimate vocation for sons and daughters. In this subterranean milieu, income depended on factors that were both difficult to predict and control and it seemed a safer bet becoming a lawyer, a doctor or a dentist. This was the awesome challenge facing 21 year-old Phil Spector as he barnstormed his way through recording circles, making an immediate impact with major hits such as ‘Spanish Harlem’ (Ben E King), ‘Pretty Little Angel Eyes’ (Curtis Lee) and ‘Corinna Corinna’ (Ray Peterson). It all began for Spector with the Teddy Bears, an ad hoc vocal group he organised as a vehicle for his songs back in 1958. Events had moved fairly quickly in his life since he’d moved with his mother and sister from the Bronx to Los Angeles in 1953. By the time he’d graduated from Fairfax high School in 1957, Spector had become proficient on the guitar and turned his hand to song writing. Some crudely recorded demos including ‘Don’t You Worry My Little Pet’ (heard here) caught the attention of Doré Records who sanctioned further recordings resulting in the worldwide hit ‘To Know Him Is To Love Him’. Riven by personality conflicts, the Teddy Bears soon disbanded and Spector teamed up with Lester Sill and Lee Hazlewood, the force behind twangy guitarist Duane Eddy’s hits. Placed in charge of Sill’s new signing Kell Osborne, Spector wrote and produced the gritty ‘That’s Alright Baby’. Spector then expressed a desire to move back East. As a favour to their old mentor, Jerry Leiber and Mike Stoller agreed to look after him. Alternating between coasts, Spector recorded the Paris Sisters, a vocal trio signed by Sill. His faith in Spector was more than justified when the trio’s ‘I Love How You Love Me’ climbed to #5. Following a short stop at Liberty records – the only official staff post he ever held – Spector walked away to concentrate on his own Philles label. Four years had lapsed since he’d stepped untrained into a recording studio with three friends to record a hit almost by chance. Since then, he’d learned his craft, paid his dues and finally become his own boss. Now, at 23, he had the industry in the palm of his hand and only himself to account to. “Phil Spector: The Early Productions” covers this formative phase of Spector’s career without duplicating too many hits available on other Ace comps. 12 of the generous 28 tunes are new to CD and both the sequencing and mastering make them a delight to the ear while the booklet is a presentational tour de force. Let’s remember him this way rather than the other. By Rob Finnis (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Rock 'n' Roll Instrumental Hits 3CD 3CDs = 48 tracks |
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Goldies 2010 | CD-Box | 11.90 € |
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| VA: - Say When - Ember Sixties Pop Vol. 1 22 rare tracks from British indie label EMBER Records. Sixties Pop scene |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Summer Turns to Autumn British indie label Ember released a number of rock albums and singles between 1969 and 1972, which today are much sought after by collectors of psychedelic, progressive and folk rock sounds. Many of the best of these are gathered on Summer Turns To Autumn, the companion to Looking Towards The Sky (FVCD041). Foremost among the artists compiled here is progressive rock band Blonde On Blonde, represented by tracks from both of their Ember albums. Fantastic Voyage has salvaged two tracks from Blue Beard’s album. An early songwriting/production project for Bob Welch, who next surfaced in Fleetwood Mac, the album was only released in Italy, but the single Sly Willy was more widely available and is highly prized by collectors of funky rock. Tyrannosaurus Rex-style acoustic hippy duo Knocker Jungle and progressive folk group 9.30 Fly each managed one now highly collectable long player for the label. The remainder of the material ranges from the fuzzy psychedelic rock of Canadians The Dorians and the melodic folk rock of Paddy Maguire, backed by heavy friends Steve Winwood and Jerry Donahue (of Fotheringay), to the soul-rock fusion of Milt Matthews Inc, here interpreting a Blind Faith song, and a previously unissued folk rock rendition of East Virginia by Polly Niles. Summer Turns To Autumn and Looking Towards The Sky complement Fantastic Voyage’s existing, highly popular compilations of Ember Beat and Ember Pop, with no duplication of tracks. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Teen Rockin' Fever Vol. 2 |
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Scooter Records 2010 | CD | 15.00 € |
