60s / Beat / Folk etc
Result of your query: 1079 products
| VA: - Back From The Grave Vol. 5 16 crazed frantic bone crunchin mid-60s garage punkers ! |
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Crypt Records | LP | 15.00 € |
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| VA: - Back From The Grave Vol. 6 |
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Crypt Records | LP | 17.00 € |
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| VA: - Back From The Grave Vol. 7 2LP 34 primitive, raw, wild & loud mid-60's punk-rock thumpers |
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Crypt Records | LP | 23.00 € |
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| VA: - Back From The Grave Vol. 8 32 tracks of utter snarling mid-60s garage |
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Crypt Records | CD | 18.00 € |
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| VA: - Baltimore's Teen Beat A Go Go |
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Get Hip 1997 | CD | 9.90 € |
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| VA: - Baltimore's Teen Beat A Go Go Reissue of ultra-rare early 60’s Dome Records classic LP compilation of Teen Garage Bands from the Baltimore, MD area. Ralph Johnson, president of Wedge & Dome Records, was also the sponsor of many “Battle Of the Bands” shows throughout Maryland. These shows helped them find the bands that hadn’t already found them, since the grand prize for these shows was to have one of their songs on this album. The second prize at these shows was that they would pay 50% of their expenses to get a track for the album. These bands made up the Baltimore sound of the sixties- Baltimore’s own contribution to the Garage Band Sound. Thanks to Get Hip Records, this material is now available again. The original pressing of 500 copies of this LP went out of print in 1966, and original copies now sell for $200 and up if you’re lucky enough to run across one! |
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Get Hip 1997 | LP | 15.00 € |
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| VA: - Beach Party - Garpax Surf 'n' Drag 26 tracks |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - Beat Beat Beat Vol 4 2CD 1-2-3-4 2 CDs = 60 tracks from 1964 |
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Castle 2003 | CD | 19.00 € |
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| VA: - Beat Chic - Dream Babes Vol. 7 22 tracks. All recordings 1962-1967 |
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RPM 2007 | CD | 17.00 € |
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| VA: - Beat Im Norden - Smash Boom Bang - the 60s Anthology |
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Bear Family 2004 | CD | 17.00 € |
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| VA: - Beatlemaniacs 28 beatles aiheista biisiä |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - Before The Fall - 24 Prelapsarian Cuts f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York. What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others. It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings. These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it. As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes. By Dan Maier (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Bert Bern Story - Twist And Shout Vol. 1 1960-1964 the first of two volumes chronicling and saluting the too-brief career of this revered New York producer-songwriter-singer |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Best Of 60s British Beat |
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Hallmark Music 2000 | CD | 5.00 € |
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| VA: - Best Of Kayden & Merben Records 24 tracks soul, mod and r&r from the 60s |
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Kayden & Merben Records 2009 | CD | 19.00 € |
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| VA: - Best Of The Girl Groups Vol. 1 18 tracks |
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Rhino Records 1990 | CD | 19.00 € |
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| VA: - Best Of Twist-A-Rama New York Carage Bands Vol 1. 16 tracks: Galaxies, Andy & The Classics, The Brix, Patty & The Hangmen, Reveres etc |
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Norton Records 2000 | CD | 17.00 € |
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| VA: - Big Deal ! This album kinda pays like a tribute in reverse. All the tracks have been covered (or reworked) by "THE 5,6,7,8's!" . The Rockin' Geishas chose these songs (even to blend and bend out of shape) means the originals are obviously amongst the great rock and roll tracks. |
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Mademoiselle Records | CD | 18.00 € |
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| VA: - Big Lizard Stomp Vol. 2 teen trash from psychedelic tokyo 66-69 |
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Planet X Records | LP | 15.00 € |
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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: - Board Boogie: Surf 'n' Twang From Down Under 30 tracks |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - Boom Boom ! - Forgotten Treasures from the German Beat Boom |
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Strasse Beat Records | CD | 17.00 € |
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| VA: - Boy Trouble - Garpax Girls BRIAN WILSON ADMIRED him, Phil Spector was scared of him-.-in the roll-call of 1960s Hollywood record men, quixotic producer Gary S Paxton was amongst the most remarkable. Like Wilson, in the studio Paxton was hands-on, covering all aspects of playing, singing and production-.-like Spector, he had the knack of marrying song, singer and arrangement. Unlike Wilson and Spector however, Paxton's was a seat-of-the-pants operation that relied on a loyal retinue of writers and players and most significantly, the relentless 24/7, pill and alcohol-fuelled drive of the man himself. On the face of it, having made his name with novelty material like Alley-Oop, Gary Paxton might not have a lot of affinity with girl groups, but his natural enthusiasm for R&B and a finely-honed sense of the commercial made the category an easy one for him to excel at. As a major player in mid-1960s Hollywood, it was only natural that female artists, or their management, would beat a path to the producer's door, looking for a contract or an opportunity to record. The songs here cover all aspects, verging from the teeny-bop subject matter and occasional untutored vocals of the classic girl-group sound, through to sophisticated, dramatic pleas from mature young women, and exciting pop-soul aimed at the discotheque floor. They all retain the essential elements of quality mid-1960s pop - great material, great arrangements, and some fabulous singing. The tracks on "Boy Trouble" were all recorded between 1963-1967 and leased to various labels or issued on Paxton-run imprints like Garpax and Star-Burst. However the bulk of this thoroughly enjoyable anthology is presented here for the first time, from recently excavated master tapes. Highlights include Bakersfield trio the Rev-Lons and their well-known title track Boy Trouble, plus other single cuts and some splendid unissued material-.-the precocious Beverly Williams, who turns in some fabulous Spector-esque sides-.-au go go swingers like Diana Dawn and Mary Saenz-.-and even Paxton's then-wife Jan, whose smoky tones beg the question as to why the producer didn't try to make her a star. When it came to the other side of the tracks, Paxton had some awesome talent at his disposal, exemplified by the tuff-voiced Beatrice Kay, whose Boy You Better Watch It Girl would have the Ronettes running for cover. The prolific Paxton was unable to place everything he did, and most of the female acts he produced remained unsuccessful, with the notable exception of future soul diva Thelma Houston, discovered singing with the Art Reynolds Singers, and for whom Gary produced several early solo singles for Capitol. The rest of these artists remain tantalizingly obscure, but their performances and material are often as classy and memorable as the acknowledged greats of the girl-group idiom. By Alec Palao (Ace Records) |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Boys Can Be Mean 2CD 60 Fabulous Femme Pop recordings 1961-67 featuring The Shangri-Las, Gladys Knight, The Dixie Cups, Betty Everett, Ellie Greenwich, Shelley Fabares and many more. Package includes a 20-page memorabilia-laden booklet, informative liner notes plus a hidden bonus track. Following on the kitten heels of Charly’s critically acclaimed Shangri-Las: Remember… [SNAX625CD] and Red Bird Story [SNAX626CD], comes a stunning 2CD compilation of US Femme Pop gems from the Red Bird, Vee-Jay, Sound Stage 7, Black Pearl, Fire and Fury labels. Comprising solo thrushes and girl groups, R&B divas and teen angels, Boys Can Be Mean is as sensational a set of 60s songbirds as one could hope to find. The genre continues to influence and captivate contemporary pop and fashion; the late Amy Winehouse cited The Shangri-Las among her favourites, while Grammy Award-winning Adele’s musical bloodline has much in common with white Soul singers such as Evie Sands and deep soul greats like Bessie Banks. Boys Can Be Mean runs the gamut of teen emotion from despair to elation with stone classics such as ‘Gettin’ Mighty Crowded’ (Betty Everett), ‘Letter Full Of Tears’ (Gladys Knight & The Pips), ‘Please Don’t Go’ (Yvonne Carroll) with lesser-heard but no less-angsty contributions from Tracey Dey, Melinda Marx and The Clinger Sisters . Combining collector’s favourites with a helping of Hot 100 hits, this set also includes 14 rare recordings not previously available on CD plus several making their first official reissue release, among them Barbara Green, The Angelos and Judy Thomas. The set also features a hidden bonus track new-to-CD. |
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Snapper Music 2012 | CD | 10.00 € |
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| VA: - Break-A-Way. The Songs Of Jackie DeShannon 1961-1967 Before her own breaktrough as a recording star, jackie DeShannon was one of the most in-demand songwriters of the 60s, providing material for everyone from Brenda Lee to the Byrds. This bumper collection features solo compositions and songs co-writeen with Jimmy Page, Jack Nitzsche and Sharon Sheeley, plus an exclusive previously unheard demo. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - 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: - British Rock 'n' Beat Vol. 4 |
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Collar 'n' Cuff Records 2009 | CD | 15.00 € |
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| VA: - British Rock'n' Roll At Decca Vol. 1 1957-61 30 tracks early british R&R |
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Vocalion 2007 | CD | 15.00 € |
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| VA: - British Rock'n'Roll At Decca Vol. 4 1954-1962 |
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Vocalion 2009 | CD | 15.00 € |
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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: - Burghers Vol. 1 Classic 60s Sounds From Steeltown |
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Big Wink Records | CD | 18.00 € |
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| VA: - Burghers Vol. 1 Classic 60s Sounds From Steeltown |
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Big Wink Records | LP | 17.00 € |
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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: - CamPark Records - The British Invasion Vol. 13 27 tracks UK Rock (& some Roll) from the 60s |
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CamPark Records | CD | 18.00 € |
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| VA: - Chartbusters USA - Special Sunshine Pop Edition really was no accident that the Sunshine Pop genre arose when it did. Its roots lay in the largely white post rock’n’roll pop era when writing and production teams had firmly established footholds on both coasts of America, and when recording studios were starting to offer more tracks than the hitherto very basic four. Around 1965, a glance at the US charts revealed that harmony vocals were one of the few genres to withstand the British onslaught, and geed by that success record companies were eager to put money behind one of the few areas where indigenous acts could still outdo the Britons. Many took their cue unashamedly from Brian Wilson and the Beach Boys but, instead of the intensely West Coast outdoor themes and surfin' falsettos, began to develop sophisticated vocal themes that also drew from the rapidly changing folk market. In New York, the warmth of the Lovin' Spoonful's vocals and John Sebastian's songs opened the way for acts like the Critters and Spanky & Our Gang who utilised softer-voiced leads with gentler harmonic back-ups. It was an approach that was quickly recognised as commercial and taken up by existing acts: Bobby Vee being steered towards it at Liberty, and the East Coast's Tokens grasping the opportunities as both singers and producers. So what would characterise a typical Sunshine Pop single? Firstly, the productions would be smoother and fuller than many previous records and, although traditional pop song verse/chorus formats were largely followed, there was much more room allowed for vocal harmony introductions, backgrounds and breaks, all of which was greatly enhanced by the arrival of eight track boards. The lyrical imagery was often sunny and outdoor, echoing the permanently hedonistic outlook of the Beach Boys, while the overall feel of a song would purposely try to evoke the languor and warmth of endless summer days. The Turtles, who lead off our collection with ‘Happy Together’, had some of the biggest and most memorable West Coast Sunshine hits along with the Mamas & Papas, the 5th Dimension, Harpers Bizarre, the Sunshine Company and the Association. Many of the tracks here were sizeable US hits, but there is also lesser known cuts from the Peppermint Rainbow, Bobby Vee & The Strangers, Donovan and the Neon Philharmonic. The quality of all their recordings ensured that it would become a collectable genre, and the UK and Japan led the way in recognising the worth of material cut within a comparatively short time frame. This compilation sits proudly alongside Ace's other “Chartbusters USA” collections of more pop-orientated material from the middle years of the 60s. We at Ace Towers will shortly be skipping out to the park with balloons and frisbees. Come and join us, or just conjure with that imagery! This collection will be the perfect soundtrack. By Kingsley Abbott (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Chartbusters USA Vol. 2 29 tracks USA hits 1963-1969 |
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Ace Records 2002 | CD | 17.00 € |
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| VA: - Chartbusters USA Vol. 3 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969. Mastered from the best possible sources. Action-packed 28-page booklet. By ROB FINNIS Now into its third volume, CHARTBUSTERS USA is fast becoming an institution much in the same way as the highly acclaimed "Golden Age Of American Rock'n'Roll" series, from which it follows on chronologically. Chartbusters USA is characterised by the same near obsessive attention to detail and audio quality. Each record is individually annotated in the familiar "Golden Age" style and placed within a colourful mosaic of period photos, ads and illustrations that evokes the mood of the times almost as vividly as the music itself. To qualify for inclusion, every track on Chartbusters USA should have appeared on the US Hot 100 in the period spanning 1963-1969 and retained some, if not all, of the visceral quality that made it a hit in the first place. As with "Golden Age", some records are more obscure than others and therein lies the charm. Amid the majestic splendour of the rarely heard stereo mix of Sony & Cher's I Got You Babe and other mega-hits such as The Letter by the Box Tops, nestle unknowns such as Timmy Shaw whose Gonna Send You Back To Georgia had the misfortune to reach the Hot 100 at the same time as I Want To Hold Your Hand and was all but overwhelmed by the mad rush for Beatle product that gripped America in 1964. The Animals cut the song as the b-side of their first single, re-titling it I'm Gonna Send You Back To Walker. Then there's Ian Whitcomb whose cod R&B bash, You Turn Me On, was recorded in a demo studio in Dublin, Ireland where Whitcomb was studying at Trinity College. Befittingly, perhaps, the producer was Jerry Dennon who was also responsible for Louie, Louie by the Kingsmen. There is post-modern kitsch in the form of Guantanamera by the Sandpipers, Gale Garnett's wistful folk-pop classic We'll Sing In The Sunshine (regarded as one of the earliest feminist songs), the loping retro blues of Slim Harpo with Baby Scratch My Back, and soul stompers such as I Do by the Marvelows, a 1965 hit later successfully revived by J Geils Band. CHARTBUSTERS USA VOL 3 is not just another 60s comp but a total experience, the ultimate time capsule from a mythological age when every Fancy Dan saw himself as a would be Austin Powers and every Dolly Bird looked in the mirror and saw a nascent Stephanie Powers or a Twiggy or, quite possibly, a young Barbara Windsor staring back at her. So there you have it: 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969, all mastered from the best possible sources, together with an informative, action-packed 28-page booklet. Groovy! (Ace Records) |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Chop Suey Rock - Songs About The Orient Vol. 1 |
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Hot & Sour Records | CD | 18.00 € |
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| VA: - Christmas Party Norton is making spirits bright once again! Four from the vaults |
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Norton Records | Single/EP | 6.00 € |
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| VA: - Classic 60s Beat Groups 15 tracks |
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Hallmark 1999 | CD | 5.00 € |
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| VA: - Columbia / Odeon Singlar & EP 1958-65 30 tracks from 1958-65 swedish rock, pop and schlagers from Odeon and Columbia Records (Sweden). |
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Triola Records 2005 | CD | 15.00 € |
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| VA: - Come Together - Black America Sings Lennon & McCartney The unanimous acclaim for and success of Ace’s recent ‘How Many Roads: Black America Sings Bob Dylan” project pretty much guaranteed a follow-up at some point. Its release immediately instigated a high level of consumer interest in whether or not we were planning any further volumes in the series. Truth to tell, it wasn’t meant to be a series originally, but the suggestion of Black America singing other notable rock icons of the 60s was too good to ignore. So it is that we now present a selection of interpretations by leading black American artists of the compositions of John Lennon and Paul McCartney. John and Paul’s songs perhaps did not carry the same degree of social significance for black Americans as those of Mr Zimmerman, but their superlative knack for words and music inevitably made each new Beatles album a potential source of future hits for others. It’s therefore no surprise to find enough superb examples to fill a few volumes. Here we present two dozen of their best-known songs sung by many of the leading names in soul from the 60s and 70s. As with the Dylan set, you’ll find the obvious (Otis Redding’s reconstruction of ‘Day Tripper’ and Aretha’s from-the-heart essay on ‘Let It Be’) rubbing shoulders with the blindingly obscure (West Coast blues giant Lowell Fulson wondering ‘Why Don’t We Do It In The Road’ and sweet soul quartet the Moments’ totally unexpected take on ‘Rocky Raccoon’). Unlike many pop songwriters, Lennon and McCartney reached out to a broad spectrum of black artists; you won’t find too many compilations where New Orleans’ rockin’ R&B man Fats Domino and his 60s near-namesake Chubby Checker feature alongside Motown’s first lady Mary Wells and king of 70s soul Al Green, and do so in such a seamless way. The common factor among all these covers is that they are never less than interesting. John and Paul are not on record as having expressed an opinion on too many versions of their songs, but we’d be willing to bet that the ones included here would have entertained them more than most. As always, the CD comes to you with a booklet featuring a huge amount of illustrative material and generous song-by-song annotations covering who wrote what (or most of what). We had originally thought that we might include versions of some Harrisongs as well, but in the end there was more than enough Lennon and McCartney material to fill this disc and more besides, so George will have to wait until another day and another CD. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Cruisin' 1965 |
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Increase Records 1996 | CD | 15.00 € |
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| VA: - Da Doo Ron Ron New York’s famed Brill Building housed many talented teams of songwriters whose names are immortalised in the realm of popular music. Brooklyn natives Ellie Greenwich and Jeff Barry each had budding careers as composers before they joined up in 1962, at which point the fruits of their labours became spectacular. Ace’s second collection of the couple’s output is proof that there are no words to describe their talent. There are some beautiful confections here. The girl group phenomenon of the early 1960s was the duo’s area of expertise. Take New York’s most famous female groups of the day – the Shangri-Las, the Crystals, the Chiffons, the Jelly Beans, the Ronettes, the Dixie Cups, the Exciters (and even the elusive Butterflys); their best-remembered songs and biggest hits came from the pens of Greenwich and Barry. The Exciters’ ‘All Grown Up’, once confined to the vaults, makes the earlier Phil Spector-produced versions sound anaemic. The Chiffons track comes from their most difficult to track down album. Connie Francis released her perfect contribution to the girl group sound with the stomping ‘Don’t Ever Leave Me’ in the same year that Lesley Gore’s equally compelling ‘Look Of Love’ hit the charts. Greenwich and Barry were so good at supplying material to groups that they even recorded as one of their own, calling themselves the Raindrops. All the above-named are represented on this stuffed-to-bursting-with-pop-classics collection. Greenwich and Barry were mainstays of the Philles label and Red Bird Records. It was no mean feat to be amongst the preferred purveyors of material to moguls such as Phil Spector, Jerry Leiber and Mike Stoller and it would be impossible to put together a collection of either label’s hits without embracing an armful of songs from the husband and wife team. After Philles and Red Bird, the duo went on to Bert Berns’ Bang Records, where Jeff Barry had a hand in a hit for the McCoys, also here. Amongst the other male acts on this set are Jay & the Americans, the Monkees and the Tokens; the latter just happens to be the earliest known recording of a Greenwich and Barry song. And there’s a song by Manfred Mann for which an American original version has yet to be discovered. The Shangri-Las may have had the bigger chart hit with ‘Give Us Your Blessing’ but this CD includes the original version by Ray Peterson. A track each from the composers finishes off this exuberant collection. By Eric Charge (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Damals In Hamburg Biisit vuosilta 1961-1972 |
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Bear Family 1999 | CD | 17.00 € |
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| VA: - Das War Ein Harter Tag - Beatles Lieder - Auf Deutsch |
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Bear Family 1995 | CD | 17.00 € |
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| VA: - Deep Ska 4CD 4CDs with 80 original Ska Classics + a fully illustrated 24 page booklet included. Truly authentic and original, all 80 of the recordings on this set were made in Jamaica between 1962 and 1969. DEEP SKA contains lots of recordings that aren't on other compilations and also includes a 24 page illustrated booklet with a fascinating track by track history of the music. Artists include Stranger Cole, The Skatalites, Eric Morris, Tommy McCook, Justin Hinds, Roland Alphonso, Don Drummond, Drumbago All Stars, Duke Reid, Baba Brooks, Lester Sterling, Margarita, Clive & Naomi, Derrick & Patsy, The Pyramids, Toots & The Maytals, Byron Lee, Blue Rivers, Laurel Aitken, Pat Kelly, Desmond Dekker, John Holt and many more |
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Proper 2006 | CD-Box | 20.00 € |
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| VA: - Delta Swamp Rock 2CD |
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Soul Jazz Records 2011 | 2-CD | 20.00 € |
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| VA: - Desert Island Treasures Previously unreleased surf & garage from '63-'66. Also features tracks by The Velvetones and James Burton Band. |
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Bacchus Archives 1997 | LP | 15.00 € |
