60s / Beat / Folk etc
Result of your query: 1086 products
| VA: - Lost In The 60's - Frat Rocker And Garage Sounds From Obscur 16 tracks. Frat Rocker And Garage Sounds From Obscureville |
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SilverTown Records 2009 | LP | 14.00 € |
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| VA: - Love Songs Elvis, Jackie Wilson, Dino Desi & Billy, Tom Jones, Paul Anka, Bobby Darin, Little Anthony & The Imperials, Brooklyn Bridge,Lulu, Beatles, The Fifth Dimension, Smokey Robinson, The Carpenters, The Mamas & Papas. 63 min. 18 tracks. |
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Eagle Vision 2004 | DVD | 9.00 € |
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| VA: - Mad Mike Monsters Vol. 1 - A Tribute To Mad Mike Metrovich The wildest 45s discovered and popularized by enigmatic Pittsburgh hoo-doo DJ during his primo prime years 1964-67, compiled into three sets of instant party mashers! Massive gatefold LPs tell the story of the Mad One in his own words, complete with tons of memories from his many local fans, while the CD packs deliver the same in a pocket-size format! Absolutely staggering array of sounds from this Norton icon! All sizzle, no gristle! This is the first volume. |
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Norton Records 2009 | LP | 13.00 € |
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| VA: - Manu Records Story |
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Classics Records 2009 | CD | 17.00 € |
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| VA: - Marijuana Unknowns Vol. 1 A collection of late-sixties pop and psych tunes about pot |
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Stoned Records | CD | 18.00 € |
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| VA: - Memphis Boys - The Story Of American Studios There can be few with an interest in the music of the American South who didn’t welcome the recent publication of Memphis Boys, Roben Jones’ essential history of American Studios. Established by songwriter-producer Chips Moman and his business partner Don Crews in 1964, it took a couple of years for American to find its true audio identity, but once the in-house group of key musicians – the Memphis Boys of Roben’s title – were all in place the steady trickle of hits and future classics quickly became a flood. Thanks to those players – Tommy Cogbill, Reggie Young, Bobby Emmons, Gene Chrisman, Dan Penn, Spooner Oldham and others – the American sound became as important a part of recording history as that which emanated from the studios of Motown, Cosimo’s, FAME and Memphis neighbours Sun, Stax and Hi. The first Hot 100 biggies to be recorded at American – James & Bobby Purify’s ‘Shake A Tail Feather’ and Oscar Toney Jr’s ‘For Your Precious Love’ – were taped at the same session in March 1967, around the same time as Dan Penn was putting the Box Tops through their paces on ‘The Letter’, one of the biggest hits of 1967 and American’s first worldwide chart-topper. Not a bad year by anyone’s standards. How quickly American’s stock rose in the eyes of others – particularly the companies that used the studio and the Memphis Boys on a regular basis – can be assessed by the fact that, by 1968, American was entertaining a client roster that included Neil Diamond, Petula Clark, B.J. Thomas, Dionne Warwick, Dusty Springfield and a local boy by the name of Elvis Presley who was looking to make his music as relevant as it had been 15 years earlier. Although this collection doesn’t contain every major hit that came out of the funky little studio on Thomas Street, Memphis (we’re saving some for a possible second volume), as a listening experience it’s hard to beat – particularly when enjoyed in conjunction with Roben’s brilliant book. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Michigan Mayhem Vol. 1 28 forgotten 60s Michigan Garage gems |
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More Fun Records 1996 | CD | 18.00 € |
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| VA: - Michigan Mayhem Vol. 2 29 more 60s Michigan Garage Gems |
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More Fun Records | CD | 18.00 € |
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| VA: - Midnite Sound Of The Milky Way 24 biisiä 60s Midwest Garage rock.. |
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Ace Records 2004 | CD | 18.00 € |
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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: - Mod Jazz Forever The night is dark, and crisp enough to require a dark blue woollen overcoat over your midnight blue two-button narrow-lapelled, slim-fitting suit. Your loafers are oxblood and polished to a shine that reflects well on the rest of your outfit. You’re looking for the perfect soundtrack for a night on the town, not just any town, but a city, a bustling metropolis lit by neon and a full of a million souls – although you only want to be seen with a small percentage, the ones who can share your outlook and need the right sort of sounds. Fortunately for you the mod jazz crew are back in town and we have scoured the world to provide you with the perfect blend of jazz, with a touch of the blues, a shake of soul and a pinch of latin. Whether you are sipping a whisky sour in a wood-panelled bar, trying to created the perfect Mad Men moment, or working up a sweat, we have the number for you. As usual, we pay only lip service to genre divides, and bring you lots of great jazz vocals, often with an R&B twist. Check Troy Dodds’ ‘The Real Thing’ (the B-side of a super-expensive Northern soul hit) or Floyd White’s ‘Finders Keepers’, lifted from a previously unreleased Invader session. Mod jazz favourite Mark Murphy turns up with the amazing rare 45-only ‘It’s Like Love’ and Clint Stacy, Bobby Jenkins and Little Bob all help keep the mod jazz quality high. On the female side we have the phenomenal Tobi Lark, who is known for her soul numbers but was a consummate jazz performer, as was Byrdie Green, who gives us her take on Freddie Hubbard’s ‘Return Of The Prodigal Son’. A good mod jazz record needs plenty of roaring Hammond organ, which we give you by Brother Jack McDuff, Johnny “Hammond” Smith and the great Reuben Wilson with one of his earliest recordings. That other great Hammond exponent Billy Larkin sings like Georgie Fame and strokes some piano keys on ‘Looking’, which sounds rather like ‘Fever’, a song served up in a wonderful version by Buddy Guy. The Night Beats deliver a garage jazz take on ‘Who’s Afraid Of Virginia Woolf Pt 2’ mod jazz regulars Hank Jacobs, Dave Hamilton and Johnny Lytle keep our toes tapping and our fingers clicking. As you leave the room to the previously unreleased British jazz cut ‘Sunshine Superman’ by Bocking, Robinson, Morais you will be feeling as sharp as ever. Another mod jazz miracle. By Dean Rudland (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Mondo Frat Dance Bash A Go Go 31 tracks rare high octane 60s movers and shakers |
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Arf Arf Records 1995 | CD | 19.00 € |
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| VA: - Monsters Of The Midwest Vol. 4 Lost tracks from the action Sixties ! |
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Cavern Records | LP | 17.00 € |
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| VA: - Mop Top Pop Beat Beat Beat Vol. 3 2CD 2CD = 60 tracks |
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Castle 2002 | 2-CD | 18.00 € |
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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: - Nightmares In Wonderland limited edition 1000 copies numbered pressing. deluxe gatefold sleeve |
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Rubble | LP | 13.00 € |
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| VA: - Nippon Girls By popular demand, the series kicks off with “Nippon Girls”, a celebration of the female side of Japan’s 1960s pop scene. The LP comprises a dozen highlights from the CD of the same title issued on our Big Beat International logo a couple of years back, one of our recent top sellers. Compiled by DJ Sheila Burgel, a former Tokyo resident, the “Nippon Girls” CD raised a few eyebrows here at Ace HQ, but girl-pop maven Sheila knew what she was doing. The collection drew rave reviews, becoming something of a left-field hit with the club crowd and young hipster types. Sheila also supplied the fascinating and scholarly liner notes, from which we learn that bikini-clad cover girl Jun Mayuzumi’s ‘Black Room’ “boasts booming bass lines and a dancefloor readiness that’s already caught the ear of freakbeat collectors, while Mie Nakao’s fuzz-rocker ‘Sharock No. 1’ takes ‘Green Onions’ as its template. ‘Tsukikage No Rendezvous’ by Keiko Mari is a tamer affair, with Latin rhythms and cute banter between Mari and her all-male chorus. J Girls were sisters Shinobu and Jun Hazuki. Their ‘Kiiro No Sekai’ was recorded in 1969 but remained under wraps until 1995’s “Cutie Pops Collection”. Reiko Ohara’s ‘Peacock Baby’ was released in 1968 and came in a mouth-watering gatefold sleeve. Mieko Hirota was a music heavyweight, close to Dusty Springfield in the ability to inspire awe with her voice. In the mid-60s, she was paired up with Kyohei Tsutsumi, one of Japan’s greatest pop writer/producers. His love of Anglo-American records is clearly audible on ‘Nagisa No Tenshi’, its backing track not very subtly swiped from ‘Cool Jerk’.” The second side makes for an equally compelling listen. Opener Rumi Koyama was “a go-go dancer for TV show Beat Pops. Her debut single is rather square, but its jazzy flip ‘Watashi No Inori’ is just the right amount of raw and teenage. A year after the Carnabeats hit paydirt with a reading of the Zombies’ ‘I Love You’, re-titled ‘Suki Sa Suki Sa Suki Sa’, Nana Kinomi included the same song on her album “Let’s Go Nana!” with GS band Leo Beats. You can hear half-American, half-Japanese model Miki Obata struggle to hit the high notes on ‘Hatsu Koi No Letter’, but it’s considered a Japanese girl-pop staple. Ryoko Moriyama’s ‘Ame Agari No Samba’ attests to the high quality of Japanese bossa nova – as laidback and atmospheric as the Brazilian originals it emulated. Former figure skater Ayumi Ishida’s ‘Taiyou Wa Naite Iru’ is total melodrama, a whirlwind of harpsichord and strings. The star of over a hundred films, Sayuri Yoshinaga appealed to the Japanese mainstream with her modest image and ability to leave audiences in floods of tears. Her ‘Koi No Yorokobi’ is the perfect Japanese girl-pop primer – dark yet upbeat, with all-girl chorus the Schoolmates chirping in the background.” “Nippon Girls” is highly recommended to girl group fanciers, GS groovers and anyone else with a keen ear for eclectic sounds. The LP version sports a zingy gatefold cover by designer Niall McCormack, who also created the 23-inch square poster found tucked inside. By Mick Patrick (Ace Records) |
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Ace Records 2013 | LP | 25.00 € |
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| VA: - Nippon Girls - Japanese Pop, Beat & Bossa Nova 1966-1970 The Big Beat International label returns with a bang and another celebration of the wonderful world of Japanese pop. After our acclaimed GS I Love You volumes, it’s the girls’ turn, as we examine the female side of the country’s remarkable pop scene with Nippon Girls. In the years between Elvis’ debut and the rise of Japan’s own Group Sounds scene in late ’65, the country’s pop artists were confined to a repertoire of rehashed Western chart-toppers. Kenji Sazanami was one catalyst for change. Fed up with the traditional songwriting establishment, he headed Stateside, where he obtained the rights for hundreds of American hits. His translations of ‘Johnny Angel’ and others launched the careers of Japan’s most revered female pop stars – the Peanuts, Mieko Hirota, Ryoko Moriyama, Mie Nakao and Yukari Ito. But, aside from a few winners, the bulk of these cover versions were twee reductions that lacked personality and pizzazz. The record sleeves featured the young girl stars in spaghetti straps and petticoats, looking very Shirley Temple and perpetuating a morally upright image deemed safe for the Japanese public. The Japanese media and monopolistic talent agencies were relentless in their pursuit of wholesome talent, but their plans were derailed by the Beatles’ incursion. Japanese teens too, had been seduced by the Liverpudlians’ DIY spirit and the authenticity that was missing from Japan’s manufactured pop. This new wave of rock bands swiped from the British Invasion and blurred their influences with dissonant chords and Oriental melodies, thus creating a unique brand of Japanese rock’n’roll called Group Sounds. The GS boom liberated many of Japan’s finest writers, who were sidelined by the tenured Enka (traditional Japanese music) songwriters and rendered useless during “cover-pops” mania. For example, pianist-cum-songwriter Kunihiko Suzuki had to adopt an alias in order to land writing gigs. Once the GS boom hit, however, he emerged from anonymity and penned ‘Koi No Hallelujah’, a monster hit for little-known Jun Mayuzumi. The record was the girl-pop manifesto. It replaced orchestras with organs and shrill electric guitars, upped the volume and vibrato, and showcased a yearning, mournful vocal that came to epitomise the girl-pop sound. Her two best records are undoubtedly ‘Black Room’ and ‘Douyou No Yoru Nanika Ga Okiru’. Both share booming bass lines, a tough vocal and a dancefloor readiness that’s already caught the ear of DJs and freakbeat collectors worldwide. Elsewhere on this lavishly illustrated comp, you’ll find Margaret, the protégée of guitar wiz Terry Terauchi, who co-wrote her two singles for Seven Seas. ‘Aeba Suki Suki’ is primitive girl punk, with its shambolic backing provided by Terry’s group, the Bunnys. Other highlights include ‘Taiyou Ga Kowai No’, the storming Crown debut of “the new voice of 1968” Kaoru Hibiki, the wild ‘Bazazz Tengoku’ by the Cupids and actress Mari Atsumi, who rose to fame in a series of flicks known as the “soft-bodied mollusk” series and cut a number of very sexy singles in the early 70s. Third single ‘Suki Yo Ai Shite’ is the most sensual of them all. The collection is the brainwave of noted girl group expert and latter day Japanese pop champion Sheila Burgel of Cha Cha Charming magazine, who provides a fascinating overview of this tremendous and compelling tributary of 60s pop. Highly recommended to girl group fanciers, GS groovers and anyone else with a keen ear for eclectic sounds. Sheila Burgel is editor of Cha Cha Charming magazine: (chachacharming.com) a journalistic tribute to girl-powered pop - past, present and future. (from ACE Records website) |
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Ace Records 2009 | CD | 18.00 € |
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| VA: - Noch mehr Beatles Songs auf Deutsch |
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Bear Family 2002 | CD | 17.00 € |
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| VA: - Norsk Rocks Historie Vol. 2 norjalaista beat, R&R ja rautalankaa vuosilta 1960-1964. Shadowstida ! |
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Universal Music 2004 | CD | 19.00 € |
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| VA: - Northwest Battle Of The Bands Vol 1 30 biisiä |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Northwest Battle Of The Bands Vol 2 30 biisiä |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Northwest Battle Of The Bands Vol 3 30 biisiä vuosilta 1965-67 |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - Northwest Battle Of The Bands Vol 4 30 biisiä - myös osat 1-3 löytyy |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - Northwest Battle Of The Bands Vol. 1 - Flash And Crash 25 biisiä vuosilta 1964-67 |
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Sundazed 2000 | CD | 18.00 € |
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| VA: - Northwest Battle Of The Bands Vol. 2 - Knock You Flat! 25 biisiä |
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Sundazed 2000 | CD | 18.00 € |
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| VA: - Nostalgi Volym Ett 20 tracks |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Nostalgi Volym Tre 20 tracks |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Nostalgi Volym Två 20 tracks |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Now Hear This ! |
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Ace Records 2007 | CD | 18.00 € |
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| VA: - Nuggets A Classic Collection from the Psychedelic Sixties |
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Rhino Records 1996 | CD | 19.00 € |
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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: - Oz Beat Frenzy! Vol. 1 rare & unknown 60s garage. 28 tracks |
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Fullpower | CD | 19.00 € |
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| VA: - Paul Anka Hits Auf Deutsch Paul Ankan hittejä saksaksi |
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Bear Family 2003 | CD | 17.00 € |
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| VA: - Pebbles Vol. 10 16 original punk rockers from the psychedelic sixties |
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BFD Records 1980 | LP | 17.00 € |
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| VA: - Peculiar Hole In The Sky 27 biisiä. Mm Valentines, Iguana, James Taylor Move, Bucket, Normie Rowe, Peter Wright, 1863 Establishment, Clapham Junction, King Fox, Hugo, Cam-Pact etc |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - Pet Projects: The Brian Wilson Productions t's the mid-1960s and the Beach Boys are hotter than a pistol. Brian Wilson's genius can't be contained by his own group and soon he's busy producing other acts on the side. This CD contains his classic outside productions taken directly from the original masters, together with a full-colour 20-page booklet action-packed with rare photos and a detailed essay. >By Gary Bax ('The Armchair Surfer') When Ace asked me to tell you about their new BRIAN WILSON: PET PROJECTS CD, I thought I'd go in search of some background colour in order to gain a livelier understanding of the whole surfing genre. A trip to California was out of the question. Ace's budget wouldn't stretch that far. Instead, I was given Truro on the Cornish Riviera as a more feasible option. "You'll love it there," I was assured, "it'll be virtual reality - the perfect place for re-living the 'California Myth' that Brian wrote and sang about all those years ago." Humm. Ace's 'mother hen' and doughty production manager, Carol Fawcett, made me a nice packed lunch (neatly crammed into a Tupperware container) and a flask of coffee and off I went. It only took a couple of hours by train. En route, I discovered that Carol had even slipped a couple of Wagon Wheels into the top pocket of my anorak. Yummy! Well, like old Tom Jones in the Green Green Grass Of Home, I stepped off the train but, unlike Tom, there was no-one there to meet me and I was left to make my own way down to the shore. It didn't seem at all like Huntingdon Beach. Or Waimea Bay or Pomona. Or any of the other places you heard about in those old surfing songs. I'd read about the new breed of young British surfers who seemingly flocked to these shores to 'catch a wave' but on a cold January morning, all I could see was an elderly couple walking an arthritic beagle along the deserted beach. And where was Candy Johnson or any of those other interchangeable blonde babes seen shimmying in the sand in all those Beach Party movies? My only companion was a seagull the size of an albatross making a beady-eyed play for the last of my corned beef sandwiches. By now, I was beginning to wish I'd stayed at home with a cold beer and my newly arrived copy of PET PROJECTS on the player. After all, Brian never went anywhere near a surf board except in the publicity shots. A few hours later I was salivating over the cover, which has the exact period look of one of those Capitol label Surfing/Hot Rod LPs from the mid-60s. However, as the shrink-wrap on Ace's CDs doesn't come with a peelable strip, it can take as long as five minutes to get at the contents. You can pick at the cellophane with your teeth, scratch at it, or try and to tease it apart by massaging it 'Uri Geller-style' with your thumbs. An Ace spokesperson told me "... this is a not unintentional manufacturing implementation designed to heighten to the last minute, the sense of anticipation that accompanies every new release". Blimey, talk about gimmicks! But I know what they mean - it's like opening a batch of Christmas presents once a month. And, unlike some presents, PET PROJECTS is one CD that everyone would wish to own. Once he began to receive recognition within the industry as the inspirational force behind the Beach Boys, Brian Wilson sought wider acceptance for his talent and was soon busy producing other acts on the side. He was particularly influenced by Phil Spector who was hitting his stride with studio-contrived mega-hits such as Da Doo Ron Ron and Be My Baby. PET PROJECTS concentrates exclusively on these extra-curricular songs and productions. In the spring of 1963, Brain persuaded Capitol to sign the Honeys as part of a marketing strategy aimed at exploiting the burgeoning Surf-Hot Rod craze, which the Beach Boys had kicked off single-handedly. Most of the singles Brian cut with the trio over the next decade as well as a couple of later sides by two of the girls (as American Spring) can be heard here. Brian also produced two exquisite 45s by Sharon Marie (purportedly Mike Love's then current flame) including Thinkin' About You Baby, which, with amended lyrics and a new title, Darlin', became a hit for the Beach Boys four years later. Sharon Marie vanished from the radar and it's likely that her two Capitol 45s were a pleasant diversion for a young life that found fulfilment elsewhere. Other highlights include the legendary Pamela Jean by the Survivors, a one-off featuring Brian and three of his (non-Beach Boy) buddies in the Dion & The Belmonts mode. It slipped onto the market around the time the Beatles broke through in the States with I Want To Hold Your Hand and was almost immediately overtaken by events. There's also Glen Campbell's beauteous Guess I'm Dumb and both sides of Gary Usher's solo vocal 45, Sacramento c/w That's The Way I Feel, which is as infectious as it is rare. Then there is the legendary Rachel & The Revolvers rarity, The Revo-Lution c/w Number One, co-produced by Usher and Brian in August 1962, about the time the Beach Boys first made the US Top 20 with Surfin' Safari. Brian and Gary paid a black vocalist named Betty Willis a set fee to lay down the vocal posing as 'Rachel'. Individually, these records go for a fortune on the collector's market on the rare occasions they turn up. Collectively, they're priceless. A copy of a long-deleted Japanese CD modelled along similar lines recently fetched $237 on E-Bay. PET PROJECTS will cost you a fraction of that and it's state of the art. Every title is taken from the original masters and has a colourful 20 page booklet action-packed with rare photos and an engrossing essay by Rob Finnis. Though they weren't hits and make a stark counterpoint to the world beating triumphs of the Beach Boys, the songs on PET PROJECTS bear the unmistakable mark of Brian Wilson - pop genius. |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Phil Spector - The Anthology 1959-62 2LP |
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Not Now Music 2013 | LP | 22.00 € |
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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: - Phil Spector's Flips And Rarities 30 tracks |
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PS 001 1994 | CD | 18.00 € |
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| VA: - Phil's Spectre - A Wall Of Soundalikes Phil Spector's vision rose far above anhimself as the sole occupant of a parallel recording universe where his was the only way, and everyone else was nowhere. This, to a large degree, was what made him 'different' and 'difficult' in equal measure. beyond that of any of his contemporaries. In fact, Spector saw One only has to hear the absorbing out-takes from some of his Philles sessions to gain an insight into the man. Hovering authoritatively in the control room at the fabled Gold Star studios, he is by turns, cocky, amusing and skittish depending on the mood of the moment. Above all, he is endlessly patient. As take after take is aborted (over 30 on Be My Baby) and the massed musicians, numbed by repetition, are audibly beginning to wilt, Spector acts as a calming presence, nonchalantly easing them into one take after another, as though their interests, as much as his, were at stake. It took a unique man to create such historic sounds and, given his commercial success, he was bound to attract imitators. Sundry producers, artists, songwriters and arrangers attempted to hitch a ride on the Spector bandwagon in the period spanning, roughly, 1963-1967. Some of them came tantalisingly close to getting it right, most notably those who had actually worked alongside Spector such as Sonny Bono, Nino Tempo, Jack Nitzsche and the Righteous Brothers, all of whose work is amply represented here. Others were too conventional in their approach to get it right. Ace are justifiably proud of this release which brings together 24 of the finest mirror images of the Spector Sound. Assembled with artful deliberation by Mick Patrick and Tony Rounce, Phil'S Spectre reflects the variation in tone, colour and density that characterised Spector's own work. (Not all of Spector's productions were quite as blockish as posterity will have you believe. Take I Love How You Love Me by the Paris Sisters or Walking In The Rain by the Ronettes. These are records as subtle as you are likely to hear.) A few tracks alone warrant the purchase of this CD. Carol Connors' My Baby Looks (But He Don't Touch) features the lady who sang lead on the Teddy Bears' To Know Him Is To Love Him being produced by another ex-Teddy Bear, Marshall Leib. Leib also produced Alder Ray's A Little Love (Will Go A Long Way), arguably the most accurate Spector facsimile of them all. Leib once claimed he knew better than most Spector's thought processes in the studio and, on this evidence, he may have a case. Then there's Yes Sir That's My Baby by Hale & The Hushabyes, a legendary studio concoction masterminded by Jack Nitzsche that features Edna Wright (aka Sandy Wynns) singing lead, with the Blossoms, Sonny & Cher, Jackie DeShannon and Brian Wilson, among others, buried in the massed chorus. Carol King and Gerry Goffin wrote I Can't Make It Alone with the Righteous Brothers in mind but P J Proby got to cut it first. I subscribe to Nick Cohn's view that Proby ranks among the finest pop vocalists of the rock era. This majestic 45 was cut in LA after Proby had temporarily returned to America in 1966 following a spate of bad publicity in the UK. Jack Nitzsche's spectacular production reflects the Righteous Brothers' influence and Proby's vocal does it justice. This is the first time the 45 single version (on which Proby duets with himself) has been released on CD. Even mighty Motown was not averse to casting a nod in Spector's direction - step forward the Supremes! As Mick Patrick tell us, their Spector-ish Run, Run, Run (a Holland, Dozier, Holland song), was recorded in May 1963, a time when Motown had yet to establish a definitive 'sound' of its own and occasionally looked to rivals such as Spector or the Cameo label as a source of inspiration. Holland, Dozier, Holland also penned Too Hurt To Cry, Too Much In Love To Say Goodbye, by the Darnells, a Motown one-off from 1963 featuring Gladys Horton of the Marvelettes moonlighting as lead vocalist. The set closes with Please Phil Spector, a fun item with an odd little history of its own. Written and sung as a throwaway by New Yorker Mike Lendell, it was licensed to a small US label as the intended B-side of Washington Square, a Lendell production the company never got around to actually issuing. However, somehow, in 1967, the record surfaced in the UK on the Phillips label credited to a non-existent band, the Attack (unconnected with the British band of the same name). Even Lendell himself was unaware, until recently, that his aborted US 45 had made it to the UK. The booklet, as glossy and colourful as a fashion supplement only more absorbing, contains the full low-down on each title together with matching illustrations. We should mention this fond and glorious homage to the great producer was in Ace's pipeline long before Uncle Phil's tribulations reverberated around the world. Rob Finnis (Ace Records |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Phil's Spectre II : Another Wall Of Soundalikes 24 tracks |
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Ace Records 2005 | CD | 17.00 € |
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| VA: - Phil's Spectre III - A Third Wall Of Soundalikes Purists might argue that Phil Spector’s work is inimitable, but that has never stopped the legions of his disciples from doing their damnedest to duplicate it, often very convincingly, as illustrated again in this, the third installment in our “Phil’s Spectre” series. The collection actually does triple duty, being not only A THIRD WALL OF SOUNDALIKES, as its subtitle declares, aimed at Spector devotees, but also offering plenty to the overlapping fan bases of Jack Nitzsche enthusiasts and Northern Soul aficionados. The work of Spector’s revered Arranger-in-Chief, Nitzsche, is covered in our “The Jack Nitzsche Story” series, and he has his hand in three further stunning examples here. The Satisfactions’ re-recording of Hale and the Hushabyes’ version of Yes Sir, That’s My Baby has a remixed backing track that drops the bass vocal and trades Edna Wright’s lead for Gracia Nitzsche’s. Daniel A Stone turns in a soulful cover of the Spector-Pomus tune Young Boy Blues; both numbers are heard here for the first time. And in Judy Henske’s Let The Good Times Roll (which appears in a previously unissued alternate mix), Nitzsche manages to out-Spector the master’s own production of Bob B Soxx and the Blue Jeans’ rendition of the song. Jerry Ganey’s celebrated and impossible-to-find double-sider is a perfect example of Wall of Sound meets Northern Soul; after years of licensing challenges, we’re able to open and close this collection with the two knockout tracks. Northern fans will also flip for the Dan Folger and Barbara Jackson cuts. The Ashes’ Is There Anything I Can Do and The Kit Kats’ That’s The Way bring the signature Spector sound to the folk-rock genre. Spector’s work with the Righteous Brothers ranks among his most sublime, and has inspired just as many wannabes as the steamrolling sonic assaults, such as Da Doo Ron Ron, for which he’s better known. The duo itself is spotlighted here, as on the two previous volumes, along with highly derivative tracks by George ’n’ Sonny Sands and Jerry Ganey, both of whose contributions were written and produced by Brother Bill Medley. If you prefer your faux Spector at a more galloping pace, there’s a veritable stampede on offer, and for the most part it’s the gals’ turn here. High-velocity records legendary (and generally unaffordable) in the concentric circles of girl-group and Spector collectors include those by the Castanets, Alice Wonder Land, Merry Clayton, the Girlfriends, and Alder Ray. This latest installment of the “Phil’s Spectre” saga has it all: rarities, hits, drama, excitement, a thorough and lushly-designed booklet with notes by Mick Patrick, and, most importantly, some of the most compelling music you’ll ever hear. Because of the amount of studio time his perfectionism demanded, Phil Spector was only able to produce a relatively small number of masterpieces in his time. Thanks to the power and influence of those records, though, those in his sway have added innumerable contributions along the way, and the music lover’s world is a much better place for it. By David A. Young (Ace Records) |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Phoenix Panorama - The Viv Recordings 3 CD:tä, 97 biisiä ja 48 sivunen kirjanen |
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Bear Family 1995 | CD-Box | 60.00 € |
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| VA: - Piccadily Story 2CD 52 biisiä |
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Sequel Records 1993 | 2-CD | 20.00 € |
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| VA: - Pop in Germany Vol. 1 |
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Bear Family 2001 | CD | 17.00 € |
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| VA: - Pop in Germany Vol. 5 |
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Bear Family 2004 | CD | 17.00 € |
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| VA: - Psychedelic Unknowns Vol. 11 - Slowly Growing Insane 14 psychedelic unknowns |
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Timothy's Brain | CD | 18.00 € |
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| VA: - Psychedelic Unknowns Vol. 4 |
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Scrap Records | LP | 17.00 € |
