60s / Beat / Folk etc
Hakutulos yhteensä: 1102 kpl
| Beach Boys - Surfin' Safari |
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Rumble Records 2013 | LP | 18.00 € |
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| Bob Dylan - Folk Singer-Humdinger - Just About As Good As It Gets 2CD |
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Smith & Co 2013 | CD | 15.00 € |
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| Bobby Vinton - Roses Are Red |
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Hallmark Music 2013 | CD | 6.00 € |
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| Brian Hyland - Sealed With A Kiss |
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Hallmark Music 2013 | CD | 6.00 € |
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| Brothers Four - Greenfields 2CD Greenfields and Other Folk Greats - First Five Albums Featured here, as the title suggests, are a plethora of Folk greats including the groups hit singles 'Greenfields' and 'The Green Leaves of Summer' and many standards and popular songs all given The Brothers Four's stylish touch. In fact across this 2CD set we have crammed no less than five complete albums! Original founding member, Bob Flick still leads a Brothers Four group today and this is your chance to grab yourself the best overview you could find of their first couple of years at the top. |
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Jasmine Records 2013 | CD | 15.00 € |
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| Francoise Hardy - Midnight Blues - Paris London 1968-1972 The events of May 1968 across France signalled the end of the yé-yé era and a new seriousness in French pop. Unlike perky domestic stars such as Sheila or France Gall, Françoise Hardy had always had a moody image – in reality she was chronically shy. A keen astrologer, this is something she has always been quick to blame on her star sign, Capricorn: “You have the longest nights, the longest absence. When the sun is in Capricorn, you are not there. You are below the horizon. You are invisible.” 1968 was also the year she retired from public performance after a rare tour of Britain. Françoise had set up her own independent Asparagus Productions in late 1967. Initially, her old label Vogue continued to distribute her records, but in 1969 Françoise signed a deal with the small Sonopresse imprint, where she would stay until 1972. For many of her fans this is the most intriguing and exciting part of her career. From the beginning of her career and into the early 70s, Françoise recorded quite extensively in English, German, Italian and Spanish, but that material is not easy to find these days. This collection, recorded variously in Paris and London between 1968 and 1972, comprises tracks drawn from her albums “En Anglais”, “One-Nine-Seven-Zero” and “Françoise Hardy” (aka “If You Listen”) and offers a very welcome opportunity to hear her perform in English. 1965’s ‘All Over The World’ had given Françoise her only UK Top 20 hit. Although she couldn’t follow it up in Britain, France remained loyal and she was still a huge star there when she made her first full, specially recorded English language album “En Anglais” in 1968. “One-Nine-Seven-Zero” – released worldwide in 1969, but never in France– was recorded at several different sessions in London and Paris, and with a number of disparate collaborators. Though its variety of studios and arrangers could have made it a patchwork, the album is held together by a clutch of songs written and produced by Tommy Brown and Micky Jones. The opening trio – ‘Song Of Winter’, ‘Magic Horse’, ‘Strange Shadows’ – are especially strong, with warm, full arrangements by Jean-Pierre Sabar. Jones and Brown also contributed ‘Bown Bown Bown’ to 1972’s “Françoise Hardy”, recorded at Sound Techniques in Chelsea with folk rock producer Tony Cox. Sound Techniques was a bit like a social club for folk musos from Joe Boyd’s Witchseason stable. The Trees album had been recorded there, as had albums by Fairport Convention and Fotheringay. The latter’s Gerry Conway and Pat Donaldson played on the sessions for Françoise’s album, along with Richard Thompson and Fairport drummer Dave Mattacks. There are precious few enough albums from this golden period of folk rock as it is; this release gives long overdue exposure to a unique coming together of the British folk underground and a French musical legend. By Bob Stanley (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| Helen Shapiro - Tops With Me And More |
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Hallmark Music 2013 | CD | 6.00 € |
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| Highwaymen - March On 2CD In the late 1950s it seemed as though every college in the US was spawning a folk group, and true to Jasmine's recent releases of this period which include, The Limeliters and The Brothers Four we now bring you, The Highwaymen who hail from Connecticut's Wesleyan University. This set showcases the songs: 'Big Rock Candy Mountain'; 'Michael'; 'Black Eyed Suzie'; 'The Calton Weaver'; 'Whiskey in the Jar' and many more. It's easy enough to dismiss the Highwaymen as representatives of a brand of folk music that has gone out of fashion Their kind of harmony singing, coupled to traditional songs and ballads, has seldom been written of in the decades since their heyday. However they can easily stand alongside other folk luminaries such as The Kingston Trio and The Brothers Four and had without a doubt had a major impact on the folk scene of the early 1960s. |
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Jasmine Records 2013 | CD | 15.00 € |
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| Johnny Kidd & The Pirates - Shakin' All Over Johnny Kidd was one of British rock’s major stars of the pre-Merseybeat era and this album, fittingly a vinyl only release, sums up the 1959-62 period when all things seemed possible and Britain really was ‘Shakin’ All Over’. The title track of the LP remains a rock ‘n’ roll classic. The magic of the repeated descending guitar figure and kidd’s edgy insistent vocals really did send ‘shivers down the backbone’ of the record buying public while the further 19 tracks illustrate a brief but exciting career in a soon to be prolific period in British popular music. |
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Not Now Music 2013 | LP | 18.00 € |
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| Johnny Rivers - This Could Be The One Although it wasn't until 1964 when Johnny Rivers finally became a star with his hit 'Memphis' he had a career going back to 1958. Here we have the earliest recordings of the 60s superstar getting their most comprehensive reissue yet! He recorded rockabilly and beat ballads and examples of all of his early attempts at a hit are featured on this full length CD. Anyone entranced with the roots of 60s pop can't help but be hooked on this collection. Fully Detailed liner notes with biography and career achievements. |
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Jasmine Records 2013 | CD | 13.00 € |
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| Kustom Kings - Kustom City U.S.A. Prior to becoming a full-time Beach Boy and well before he wrote the song that made the whole world sing, Bruce Johnston was a key member of the West Coast music scene. In 1959, while still in high school, Johnston played piano on friend Sandy Nelson's hit single, "Teenbeat." This opportunity kicked off an incredibly prolific period for the young musician. Johnston recorded under his own name as well as many group names, playing with the cream of the California session personnel, The Wrecking Crew. He also made records with his friend Terry Melcher until Melcher moved on to pursue record producing full time. Johnston was producing as well but saw no reason to stop his musical pursuits. Songwriter, vocalist, producer, session musician—if the surf and hot rod scene had a renaissance man, surely it was Bruce Johnston. By 1964, Johnston was already a proven veteran. Following up the success of The Rip Chords collaboration with Melcher and its hit single "Hey Little Cobra," Johnston revved up The Kustom Kings. With a mission statement "to present the most authentic hot rod album on the market," the Kustom City U.S.A. album brought together an all-star team. Bruce Johnston wrote and co-wrote much of the LP's material, as did producer/arranger/saxophonist Steve Douglas. Rounding out the band were guitarists Tommy Tedesco and Glen Campbell, Ray Pohlmann on bass, Jay Migliori on second sax and Hal Blaine on drums—WOW! For added authenticity, car designer George Barris, "THE KING OF THE KUSTOMIZERS," jumped on board as a special adviser. He, along with several of his rolling works of art, is pictured on the album's artwork. Looking at the full-color front cover slick, you can practically smell the burning rubber and fresh coats of paint! The too-cool visuals are just a bonus, however, because the REAL story is the music! A hi-octane mix of vocal tracks and charging instrumentals, there is not a second of filler to be found among the twelve tracks. Tedesco and Campbell lock in gripping guitar duels while Douglas and Migliori wail over the timing belt beat of Blaine and Pohlmann. Johnston contributes superb vocal and piano work and together, the Kustom Kings jam the accelerator down to floorboard! An album this magnificent should have ruled the charts, but things were moving quickly in 1964 and the public's attention soon turned elsewhere. Through the ensuing years, word of Kustom City U.S.A. and its brilliance spread through the collector scene, with copies of the LP changing hands for considerable sums. And now, just when you thought the tank was on E, Sundazed roars in with a maniacally marvelous reissue! Sourced from the original stereo masters, Kustom City, U.S.A. has been tuned up and restored to showroom condition. |
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Sundazed Music 2013 | LP | 20.00 € |
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| Marvelettes - Playboy By the time Playboy was released in July 1962, it was the third Marvelettes album in just eight months, althoughboth of the predecessors had struggled for acceptance.Playboy is a much more consistent album than Please Mr Postman, despite lacking that number one smash,and unlike Smash Hits of 62 features an abundance of material written with the group in mind, such as Playboy,Beechwood 4-5789 and Someday Someway.Whilst the achievements of The Marvelettes would eventually be surpassed by The Supremes, this album showsthey were worthy of their lofty mantle in 1962 - Motowns first breakthrough act. |
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Hallmark Music 2013 | CD | 6.00 € |
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| Mary Wells - Bye Bye Baby Jasmine is proud to present the first lady of Motown, Mary Wells with this wonderful compilation of sublime early Motown hits and recordings. Features 1961's 'Bye, Bye Baby/I Don't Want to Take a Chance' and 1962's 'The One Who Really Loves You' and four bonus singles which include the R&B No. 1 'Two Lovers'. Other hits include: 'Bye Bye Baby'; 'The One Who Really Knows' and 'You Beat Me to the Punch'. These recordings led The Beatles to invite her onto their first US tour and a few years later inspired the early beat groups that led to the British invasion. |
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Jasmine Records 2013 | CD | 12.00 € |
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| Mary Wells - Bye Bye Baby - I Don't want to take a Chance originally released 1963 |
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Rumble Records 2013 | LP | 18.00 € |
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| Mouse And The Traps - Fraternity Years Mouse & the Traps are known principally for their “Nuggets” classic ‘A Public Execution’, a Dylan cop so brazenly authentic it even had the hallowed bard’s promo men fooled. Based in the city of Tyler, Texas and evolving from a group of pickers who populated Robin Hood Brians’ recording studio, Mouse (Ronnie Weiss) and his band ruled the region in the latter half of the 60s. The Traps made a name for themselves not only with some incendiary performances but several regional hits, with ‘Execution’ making the national charts in 1966. Signed to the venerable Cincinnati indie Fraternity, for whom they were to cut a dozen singles, for years there were rumours amongst collectors that a Mouse & the Traps LP existed on the label. There never was, but now Big Beat has decided to condense the contents of their well-received Mouse & the Traps CD anthology “The Fraternity Years” into one all-killer vinyl edition. It’s the kind of power-packed set fans would have hoped for back in the day, as the record showcases the band’s two very different but nevertheless compatible sides. On stage they were known for a tight and rocking showmanship, yet in the studio they expertly crafted folk-rock and pop gems with a deft production touch from Brians that oozed commercial appeal. Each single release coupled speaker-shredders such as ‘Maid Of Sugar’ and ‘Lie, Beg, Borrow And Steal’, with radio-friendly items such as ‘Like I Know You Do’, ‘Cryin’ Inside’ and an almost-but-not-quite smash in ‘Sometimes You Just Can’t Win’ (as a bonus, it is featured here in a rare and previously unissued incarnation from late 1966, before being sweetened for eventual release). Now, the best of the band’s recorded output has been newly remastered for wax. With such a precise distillation of their recorded legacy, the world can once again marvel at the quality and consistency that seemed to come naturally to Mouse & the Traps. “The Fraternity Years” LP is a fitting tribute to these fine musicians. By Alec Palao (Ace Records) |
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Ace Records 2013 | LP | 25.00 € |
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| Paul Evans - Folks Songs Of Many Lands / 21 Years In A Tennessee Jail First time on CD for these rare albums recorded during the US folk boom of the early 1960s. I grew up listening to popular music with my family, singing folk songs at hootenannies and learning to love country music by listening with my buddies to Barkin With Larkin, an AM country radio show. For my high school variety shows, I chose two Caribbean folk songs made popular by Harry Belafonte. But those loves of my life were only the beginning for me. It was the southern rockabilly artists that had me running to the Brill Building, the pop music Mecca in the heart of New York City. That musical trichotomy – folk, country and pop – has haunted me my whole recording career long. My professional musical life began when I was a student at Columbia University, where I hosted a folk song show on the campus radio station. My first hits were on the Guaranteed label. Unfortunately its parent company, Carlton Records, couldn’t quite figure out what to do with me after those hits. They released two wildly different LPs simultaneously in 1961: “Hear Paul Evans In Your Home Tonight” (a collection of my hits and some pop covers) and “Folk Songs Of Many Lands”, my pride and joy folk album. “Folk Songs Of Many Lands” was recorded at Associated Recording Studios in New York City over the course of a month. The musicians were my studio regulars: Buddy Salzman (drums), Charlie Macy, Al Gorgoni and Everett Barksdale (guitars), Dick Romoff (bass), Frank Owens and Leroy Glover (piano). I was invited to perform my folk repertoire at St Thomas University, a Roman Catholic liberal arts university in New Brunswick,Canada. The students were predominantly Irish by their reaction. They went wild for ‘Wearing Of The Green’ and ‘Kevin Barry’, and, I think, forgave me for singing ‘British Grenadiers’. In 1962 I found a spot recording for a man who had started out his music business career selling records from the back of his car and had risen to become one of music business’ most respected figures, Dave Kapp. Like Carlton, Kapp Records was one of the bigger independent labels in New York and had enjoyed many hits by Roger Williams, Jane Morgan, Jerry Keller, Brian Hyland and Jack Jones. When I met Dave, he told me my recording career had slipped because I was too vocally versatile. We had to find one style and stick to it. So what did they do? They released six pop singles and one country/folk LP. That album was “21 Years In A Tennessee Jail” in 1963. Kapp’s executives respected my album, but thought the title and artwork were holding back sales. So they re-released it some three years later with a new title, “Another Town – Another Jail”, and new cover artwork. An album of prison songs was the label’s idea, but the song choices were mine. The Kapp album shares many things with “Folk Songs Of Many Lands”: many of the same musicians, the same studio, the same recording technique and, most importantly, the folky quality of the country material. The songs are either traditional: ‘Betty And Dupree’s Blues’, ‘Columbus Stockade Blues’, ‘John Hardy’, or written in the traditional style: ‘Another Town – Another Jail’ (penned by Jack Reardon and me), ‘I Got Stripes’, ‘Allen town Jail’. For this first-time reissue of these two LPs, as a bonus Ace has added my 1960 hit, ‘Midnite Special’. It is a Southern folk song based on aTexasjail legend that said if the light of the Midnight Special train shined into your cell at the stroke of midnight, you’d be freed. By Paul Evans (Ace Records) |
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Ace Records 2013 | CD | 20.00 € |
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| Pretty Things - Introducing The Pretty Things 2CD |
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Snapper Music 2013 | CD | 12.00 € |
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| Sonics - The Witch EP As the revitalized Sonics traverse the globe thrilling audiences with their visceral brand of rock'n'roll, Big Beat presets a very special vinyl-only release from this the legendary Northwest garage band. The Witch EP collects four gems from the group’s quintessential Etiquette catalogue, and features for the first time on wax, the rare “switchblade” version of ‘The Witch’, with Larry Parypa scraping metal across his guitar strings to menacing effect. Also making its vinyl debut is the full-length recording of the band’s bloodcurdling ‘Psycho’ direct from the studio master tape. In recent years the Sonics’ pounding take on Richard Berry’s ‘Have Love Will Travel’ has become their biggest box-office item, having appeared upon countless TV commercials and soundtracks around the world. Rounding out this very special Witch EP is the original, classic take of the title cut. Housed in a handsome sleeve featuring a rare colour picture from an unused session intended to promote the original Witch single, shot by famed Northwest photographer Jini Dellaccio, The Sonics’ Witch EP is an essential item for any fan of this unsurpassed rock’n’roll combo. By Alec Palao (Ace Records) |
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Ace Records 2013 | CD | 15.00 € |
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| Spencer Davis Group - Keep On Running - The Collection PressPlay is a brand new Cherry Red label which offers the perfect introduction to the music of its most popular artists at a competitive price. From 70s prog to punk, vintage ska to rock’n’roll, 60s beat to 80s indie, PressPlay’s "The Collection” range will complement the existing Cherry Red labels by combining great value-for-money with the best music from a wide range of iconic cult bands /artists. Each compilation offers the ideal starting place for the general music fan who might not want to own every album by an artist… |
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Cherry Red Records 2013 | CD | 13.00 € |
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| Timi Yuro - I'm So Hurt - Her First Four Albums and More An intense, emotive singer, the diminutive Timi Yuro possessed one of the most powerful white voices of her era. This compilation anthologises the first eighteen months of her recording career, during which she released a remarkable seven singles and four LPs. Includes several hit singles such as: 'Hurt' (which became Timi's calling-card); 'I Apologise'; 'Smile'; 'She Really Loves You'; 'Let Me Call You Sweetheart'; 'What's A Matter Baby'; and 'The Love of a Boy'. Plus her incredibly rare duet with '50s hit maker, Johnnie Ray on 'I Believe'/'A Mother's Love'. Almost a third of this material is unavailable elsewhere on CD, including the two LPs, 'Soul' and 'Let Me Call You Sweetheart' which are included within this set. |
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Jasmine Records 2013 | CD | 15.00 € |
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| VA: - Complete Pop Instrumental Hits of The Sixties Vol. 3 3CD If you’re a fan of instrumental hits, Complete 60s Records’ first two releases left you speechless! That’s because this exciting new label’s historic series Complete Pop Instrumental Hits of the Sixties doesn’t just compile the biggest hits or rarest rarities. It brings together every single Billboard Top 100 instrumental hit. If it made the charts, we got it – rock, soul, jazz, country, orchestral, you name it! Now, in the wake of the first two volumes – 1960 and 1961 – comes Complete Pop Instrumental Hits of the Sixties Vol. 3 - 1962 which chronicles perhaps the biggest year ever for instrumentals. In fact, more than 13% of all Top 100 records in 1962 were instrumentals, and many were big hits. It was a magic, innocent time. America was young, bursting with promise, and literally twisting with energy on the cusp of its most creative, tumultuous decade – and it showed in the crazy quilt of wordless wonders that climbed the charts. Across 227 minutes of music – three CDs, 92 tracks, 55 in stereo, including 14 CD debuts and dozens of rare tracks – you’ll hear everything from the syncopated jazz of the late, great Dave Brubeck to the pounding rock of Sandy Nelson to the ultra-smooth sax of Billy Vaughn. In the realm of today’s homogenized, synthesized pop, this kind of musical diversity is unthinkable – and enormously thrilling! We can’t begin to list the highlights (so, see the track list below), but a few of these cuts are among the most sought-after collectibles of the rock era. Ever heard “Telstar” by the Tornadoes in stereo? Nope – because it’s making its worldwide stereo debut right here. Original producer (and genuine eccentric) Joe Meek would be proud! And it doesn’t stop there: renowned platters “Rinky Dink” by Dave “Baby” Cortez, “Green Onions” by Booker T. & the MG’s, and “Nut Rocker” by B. Bumble & The Stingers all make their worldwide stereo debuts on Complete Pop Instrumental Hits of the Sixties Vol. 3. Of course, big hits abound – from the bump-and-grind of David Rose’s salacious “The Stripper” (#1) to the spicy bravura of the Tijuana Brass’s “The Lonely Bull” (#6) to the wistful fantasy of Mr. Acker Bilk’s “Stranger On The Shore” (#1) to the resurgent ragtime of Kenny Ball’s “Midnight In Moscow” (#2). But you’ll also hear fascinating hits from the lower rungs of the charts like Ernie Freeman’s cover of the ubiquitous “The Twist” (#93), Henry Mancini’s exotic “Theme From Hatari!” (#95), and Jerry Reed’s “Hully Gully Guitar” (#99) – his very first hit. Complete Pop Instrumental Hits of the Sixties is an unprecedented undertaking to compile every single Billboard Hot 100 instrumental hit of the 1960s, the decade when the pop instrumental genre truly reached its zenith. And, when this project is complete you’ll own them all in the order they peaked on the charts! The research team at Complete 60s combed the vaults for the best possible sources for these wordless wonders, making sure to locate the original hit versions, in true stereo whenever possible. Then, no less than three sound engineers carefully remastered the original recordings until the twangy guitars, pounding drums, and soaring strings practically leap out of your speakers. You’ll be speechless! Thank goodness, however, writer Greg Adams wasn’t at a loss for words. His detailed, 28-page liner notes include biographies of all 56 artists, plus release notes and chart information for every track. The same creative folks who lovingly compile those great Eric CDs in the States are working on this project, so you know there’s the same commitment to high quality sound and attention to detail missing from so many oldies collections. Why settle for less? Why take a chance with risky, off-brand, mediocre MP3 downloads of dubious origin? Simply put, if you love instrumentals (of any kind), Complete Pop Instrumental Hits of the Sixties is the final word! |
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Hasmick Promotions 2013 | 2-CD | 35.00 € |
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| VA: - Evolution Of Ska 2CD A unique collection, which traces the development of West Indian music from the mid-'50s Calypso and Mento, through Jamaican R&B to early '60s Bluebeat, and the dawn of Ska. Includes some of the earliest recordings by a number of subsequent Reggae superstars, most notably Prince Buster, Jimmy Cliff, Derrick Morgan, Owen Gray, Clancy Eccles, Byron Lee and 'The Godfather of Ska' himself, Laurel Aitken. Many of these sides were massive Jamaican hits, most notably: 'Boogie Rock'; 'Fat Man'; 'Easy Snapping'; 'Time to Pray'; 'Little Vilma'; 'Dumplin's'; 'Oh Carolina'; 'Bartender'; 'Hurricane Hattie' and more. Greatly improved sound quality on many of these recordings. |
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Jasmine Records 2013 | CD | 15.00 € |
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| VA: - Joe Meek - Twangy Guitars, Reverb And Heavenly Choirs 2CD Long before he'd evolved into a fully-fledged cult figure, Joe Meek was the UK's first fully independent record producer. This unique 2CD set traces his career from his earliest sessions, as a sound balance engineer in the mid-'50s, to his emergence as a major songwriter and hit maker in the early '60s. It includes many of Meek's biggest records, including five UK # 1s by, Anne Shelton, Lonnie Donegan, Frankie Vaughan, Emile Ford and John Leyton, plus several other major million selling hits! Indeed, more than half of the sixty sides included herein were significant UK hits. This set also includes several collectors' rarities, previously unavailable on CD, most notably Gary Miller's unfeasibly-rare 'Moby Dick'. John Fraser's 'Golden Cage' and Geoff Goddard's 'Girl Bride'. If you are looking for what is by far the most interesting Joe Meek-related compilation for years then this is it! |
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Jasmine Records 2013 | CD | 15.00 € |
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| VA: - London American Label Year By Year 1964 1964 was not a great year to be an American chart hopeful. After an indifferent start in ’63, the Beatles had finally come, seen and conquered the US Hot 100. If your chances of scoring a decent-sized hit weren’t already hindered by the Fab Four’s domination of the Top 20, there was the mighty rearguard of the Dave Clark Five, Herman’s Hermits, the Animals, Freddie and the Dreamers, Petula Clark and anyone else who sang with a British twang to contend with. If the majority of American singers and musicians started to feel like strangers in their homeland courtesy of post-Beatlemania pandemonium, you can hardly blame them. Fortunately, despite the chart success of UK acts, there was still plenty of great American music being made, and a lot found its way into British ears courtesy of the London-American label. Not as much as in previous years – as London now had stiff competition for US product from Stateside and Pye International – but enough to make the 1964 entry in our “Year By Year” series as varied and enjoyable as the previous volumes. 1964 was a watershed year for London. They lost representation of several labels that had been vital components of their catalogue. Some, such as Atlantic, gained their own identity elsewhere within the Decca organisation. Others – Sun, Specialty, Cadence – more or less ceased to function. Dot Records, a major player in London’s past success, moved across town to Pye. But the London A&R division kept on with Monument, Philles, Kapp and other important US repertoire sources, and actually managed to rack up more UK hits than they had the previous year. Our collection gives you the gist of how London faced up to the challenge of 1964. Early soul classics from Solomon Burke, Otis Redding and the Drifters; examples of Phil Spector’s Wall Of Sound from the Crystals and the Ronettes; Buddy Holly clones Ray Ruff and David Box; Elvis soundalike Terry Stafford; boss instrumentals courtesy of Willie Mitchell, the Baja Marimba Band and Bill Black’s Combo; country hits from Jerry Wallace and Ned Miller; and even some American Merseybeat from Washington DC’s Chartmakers, All this and Jerry Lee and Satchmo too – what’s not to love? As ever, the booklet is full of label illustrations, reviews, sheet music and copious track-by-track annotation. Wherever possible, London’s own original tape sources have been used to preserve authenticity. It’s taken longer to pull this volume together than any previous one, but we are sure the end product will justify the wait for London American collectors and all fans of mid-60s US pop. By Tony Rounce (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| VA: - Love Me Do And The Birth Of The Beat 2CD asmine is proud to present this superb 2CD set featuring many of the artist and tracks that helped to inspire The Beatles and the emerging beat group scene in the early '60s. Enjoy the early recordings from such iconic pop stars as Cliff Richard, Marty Wilde, Joe Brown and Johnny Kidd plus The Beatles first single, 'Love Me Do'/'P.S. I Love You' and their early recordings with Tony Sheridan. Fully detailed liner notes with biography and career achievements for many of the major artists. |
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Jasmine Records 2013 | CD | 15.00 € |
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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: - Phil Spector - The Anthology 1959-62 2LP |
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Not Now Music 2013 | LP | 22.00 € |
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| "Blind" Rage And Violence - The End Of Rock And Roll DEKE DICKERSON ! If you like Link Wray, you'll love this album. "Blind" Rage and his band Violence (Chain Link, bass, Hot Link, drums) carry on Link's legacy with an album of songs done the way Link would have done them if he lived, including "The Stutter," "UFO on Farm Road 318," "Bacon Lube" and many more. The most dangerous band in the world! |
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Switchblade Records 2012 | CD | 15.00 € |
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| Beach Boys - That's Why God Made The Radio New studio album |
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Capitol Records 2012 | LP | 18.00 € |
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| Canned Heat - Essential feat Little Richard on track # 18 |
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Emi Music 2012 | CD | 9.00 € |
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| Cliff Richard - 21 Today |
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Hallmark Music 2012 | CD | 6.00 € |
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| Gerry & The Pacemakers - Alle 40 Goed 2CD 2CD = 40 tracks |
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Emi Netherlands 2012 | CD | 10.00 € |
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| Hep Stars - 5CD Original Album Serien |
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Emi Music 2012 | 2-CD | 29.00 € |
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| Jeanne And The Darlings / The Charmels - We're The Soul Girls ! - The Complete Volt Recordings This Stax distaff double-header anthologises two underrated teams of ladies whose voices were utilised behind the scenes at McLemore Avenue as well as in their own right. Both were with the company for a number of years and neither ever had a long-playing vinyl release, which makes this new CD extremely welcome. “We’re The Soul Girls” features everything released on Volt by Jeanne and the Darlings and the Charmels, as well as eleven tracks that were not issued at the time. Their original 45s are admired by girl group fans, and both the Darlings’ ‘Soul Girl’ and the Charmels’ ‘As Long As I Have You’ are also cherished by collectors of original breakbeats. The Charmels were at Stax throughout the Atlantic-distributed years. As the Tonettes, theirs were the first voices to be heard on the Volt label when ‘No Tears’ became Volt 101 in early 1962 (#100 was an instrumental by the Triumphs). The Tonettes had a second single a few months later, and recorded enough material to fill four more 45s, but they caught an unexpected break when Nashville label Sound Stage 7 needed a black female group to go out as the Dixiebelles to promote a studio-created Hot 100 hit called ‘Down At Papa Joe’s’. The Tonettes masqueraded as the Dixiebelles until that concept had run its course, and returned to the Volt roster in late 1966 as the Charmels (and, on their final Volt 45, the Charmells). Working with Isaac Hayes and David Porter they rolled out four exemplary 45s over an 18 month period that extended into the early days of the post-Atlantic era. They also backed up a number of Stax’ solo artists during part of that period, a role they shared with a trio of equally estimable ladies led by Arkansan Jeanne Dolphus – or Jeanne Darling as she was known professionally. Jeanne and her fellow Darlings would quickly become Stax’ equivalent of Motown’s Andantes, lending their vocal backups to an increasing number of sessions featuring solo Stax acts. Unlike the Andantes, who managed just one single in their own name during the years they were with Motown, Jeanne and the Darlings saw six singles issued over a three-year period with Volt. They too started their own career under the supervision of Hayes and Porter, before moving on to work with other great Stax writer-producers, including Don Davis and the celebrated ‘We Three’ trio of Bettye Crutcher, Homer Banks and Raymond Jackson. None of the unissued tracks by either group is inferior, and just about all of them could have been considered for singles. You might think that there can’t be much left to do with Stax, given how many great CDs have preceded these two on the Ace catalogue. That’s not the case and, even as these two are finding their way into your collections, I’m mining the tape vaults for yet more exciting projects by both familiar and fairly obscure Stax acts. The ‘clicks’ just keep on coming…. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 23.00 € |
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| Jerry Cole - Psychedelic Guitars “Psychedelic Guitars” is Ace’s third collection of Jerry Cole’s 1960s recordings for the Crown and Custom labels. “Hot Rod Twangin’”, the first in this series, showcased some of Jerry’s early R&B work as Billy Boyd and tracks from his hot rod-themed LPs of the mid-60s. The second, “Guitars A Go Go”, found him playing some fierce disco-fuelled guitar wizardry. And when everybody started tuning in and dropping out, Crown turned to Jerry Cole to save the day. It was at this time that Crown launched Custom Records, the label on which his six psychedelic albums were released. Custom’s first psychedelic LPs weren’t psychedelic at all. Released as “Psychedelic Guitars” and “More Psychedelic Guitars”, they were merely Jerry’s “Guitars A Go Go” and “A Go Go Guitars” albums repackaged in new, splashy covers. But with the release of the Projection Company’s “Give Me Some Lovin’” LP things started to get a bit more interesting. In 1966, avant-garde violinist and composer Paul Arnold hired Jerry and his main recording mates – Don Dexter, Norm Cass and Glenn Cass – to record a psychedelic concept album, “The Inner Sounds Of The Id” for RCA. At the same time, LA-based Alshire Records released the psychedelia-exploitation LP “The Animated Egg”, another album prized by collectors of the genre. It’s not entirely clear which came first, “The Id” or “The Egg”, tracks and outtakes from both of which also appeared on Jerry’s Custom albums. The Projection Company’s “Give Me Some Lovin’” LP contained three alternate takes from “The Id”: ‘Wild Times’, ‘Boil The Kettle’ (with its Freudian psychobabble removed) and ‘I Love You, I Do’. A down-in-the groove take on ‘That’s The Way It Is’ from “The Egg” resurfaced as ‘Tune Out Of Place’ and the instrumental ‘‘T Morrow’ had vocals added to become a pretty good version of Spencer Davis’ ‘Gimme Some Lovin’’. New tracks included ‘What Else’, ‘Uh, Uh, Uh’ and the standout ‘Our Man Hendrix’. With the release of T Swift & The Electric Bag’s “Are You Experienced” album Jerry and crew must have really started to come on to the Orange Sunshine. On tracks such as ‘Expo In Sound’ and ‘Free Form In 6’ Jerry waved his freak flag higher than most. ‘Kimeaa’ is a classic in its own right, as is Jerry’s 12-string workout on ‘What’s Your Bag?’, and even the cover version of ‘Are You Experienced’ is fun to listen to. While the title track is a rather dreadful affair, the Generation Gap’s “Up, Up And Away” album is actually quite good. ‘Fool’s Luck’, ‘Hard Times’ and ‘Strange Shadows’ are excellent instrumentals and ‘High On Love’ and ‘Lisa’ are good examples of Jerry’s writing skills and vocal ability. The Stone Canyon Rock Group’s “MacArthur Park” album duplicates the same “Id” material as the Projection Company LP. It also contains a repeat of ‘Strange Shadows’ (re-titled ‘Light Show’), the rockin’ ‘I Can’t Stand It’ and a couple of MOR vocal tunes. Jerry Cole was a space age, soul-surfin’, hot roddin’, go-goin’, blues-pickin’ psychedelic ranger if there ever was one. Not many know these hard-to-find LPs even exist. I hope this compilation and the others in the series give listeners an opportunity to discover, re-evaluate and enjoy his unique and fun recordings for Crown and Custom. By Mike Vernon (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| Jerry Lordan - All My Own Work A key figure in British Pop during the pre-Beatles era. He had a parallel career as a late 50’s early 60’s pop performer and songwriter. Dale Hawkins scored with Lordan’ s A House, A Car,A Weddding Ring and I’ve Waited So Long was a top 5 for Anthony Newley. Lordan himself scored three hits in 1960, with Who Could Be Bluer going top 20. Also in 1960 Lordan wrote Apache . A number 1 in the UK for The Shadows and no.2 in the US for Jordan Ingmann. Lordan wrote two more no.1’s Wonderful Land for The Shadows and Diamonds for Jet Harris & Tony Meehan. His songs were also covered by Cliff Richard, Shane Fenton and he had another huge hit with Louise Cordet and I’m Just A Baby Included here are all Lordans recordings for Parlophone , which in turn represents the majority of his recording career. They include his one LP , all his singles and his authors version of Apache. Reissued officially here for the first time, this is also the first time the recordings have appeared on CD. |
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RPM 2012 | CD | 17.00 € |
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| Jimmie Rodgers - 21 Greatest Hits |
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IMC Music 2012 | CD | 10.00 € |
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| Johnny Kidd & The Pirates - Shakin' All Over - The Early Singles 1959-1961 |
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Rumble Records 2012 | LP | 19.00 € |
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| Jose Feliciano - If I Really Bug You / Everybody Do The Click early rockers from Jose |
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Rca Victor 2012 | Single/EP | 6.00 € |
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| Karl Denver - Wimoweh |
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Hallmark Music 2012 | CD | 6.90 € |
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| King Fowley - King Of The Creeps The third volume of brain spraining early unheralded, underworshipped unknown Kim Fowley productions and manipulations arrives as a soundtrack distraction to his upcoming hip pocket paperback LORD OF GARBAGE from Kicks Books. Kim’s always stirring the pot- this time he heaves the boiling stew right into the smug mugs of rock critics and musicologists with a third full-on frantic footlong fricassee guaranteed to cause the listener to rearrange the furniture... and other things! Collect the set and get a party started. |
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Norton Records 2012 | LP | 15.00 € |
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| Little Eva - Llllloco-Motion |
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Rumble Records 2012 | LP | 18.00 € |
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| Lovin' Spoonful - The Best Of The Lovin' Spoonful |
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Music On Vinyl Records 2012 | LP | 23.00 € |
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| Manfred Mann - The Five Faces Of Manfred Mann japanipainos. 16 biisiä |
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Emi Music Japan 2012 | CD | 18.00 € |
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| Mr. Gasser & The Weirdos - Hot Rod Hootenanny Hot Rod Hootenany featured an eye-popping, full-color cover illustration by Roth. Upon release in 1963, it created quite a stir among surf/hot rod aficionados and entered the lower reaches of the Hot 100. Falling out of print after the crest of the hot rod craze, this album quickly became a prized collectable. Out of print for decades, Sundazed Music is gassed to roll this LP out of the garage and back onto your turntable! Pressed on competition-ready vinyl and compact disc, packaged in a retina-searing reproduction of the original Big Daddy artwork, it will go from zero to 33 1/3 RPM in seconds! FLOOR IT!!! A true "renaissance man," Ed "Big Daddy" Roth excelled in a number of pursuits. Artist, cartoonist, car-customizer and pinstriper were but a few of his specialties. Growing up in California, surrounded by the surf and hot rod movements of the late '50s, Roth's expansive imagination was set in motion and popular culture would never be the same. Working closely with Ed Roth, who assumed the nom du disc "Mr. Gasser," Fred Rice carefully selected vocalists and musicians for the recording session. Gary Usher assembled and led the vocal talent, which included Jackie "Robyn" Ward, Chuck Girard, Richard Burns and Darlene Love. And how's this for a guitar line-up: Glen Campbell, Jerry Cole and Howard Roberts! On drums you've the great Hal Blaine. Meanwhile, Cliff Hils anchored the bass position and Leon Russell played piano while Steve Douglas wailed on sax. What a fabulous group of "Weirdos"! The combination of A-list players and a top-notch studio produced a superior-sounding LP, every bit the sonic equal of contemporary recordings from stars like the Super Stocks and the Beach Boys. |
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Sundazed Music 2012 | CD | 18.00 € |
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| Mr. Gasser & The Weirdos - Rods N' Ratfinks When it came time to follow up the success of Hot Rod Hootenanny, Capitol's Fred Rice wisely stuck to the arithmetic of the first LP: great Ed "Big Daddy" Roth-inspired songs + the best session musicians + Capitol Studios = another outrageous LP! Rods n' Ratfinks continued the party started on the first album under the direction of Gary Usher. Piling in the Weirdos' woodie for this road trip were Glen Campbell, James Burton and Billy Strange on guitar, Ernie Freeman on piano, Carol Kaye and Steve LaFever on bass, Earl Palmer on drums and Steve Douglas on sax. Gary Usher, Richard Burns and Chuck Girard returned to do vocal duty. And, of course, "Big Daddy" himself created another screaming-technicolor-suitable-for-framing LP cover! Looking at the illustration, if you peep past the wacked-out jalopy, you'll spy Rat Fink hanging at least two as he shoots the curl. Take that, Sponge Bob! A true "renaissance man," Ed "Big Daddy" Roth excelled in a number of pursuits. Artist, cartoonist, car-customizer and pinstriper were but a few of his specialties. Growing up in California, surrounded by the surf and hot rod movements of the late '50s, Roth's expansive imagination was set in motion and popular culture would never be the same. Working closely with Ed Roth, who assumed the nom du disc "Mr. Gasser," Fred Rice carefully selected vocalists and musicians for the recording session. Gary Usher assembled and led the vocal talent, which included Jackie "Robyn" Ward, Chuck Girard, Richard Burns and Darlene Love. And how's this for a guitar line-up: Glen Campbell, Jerry Cole and Howard Roberts! On drums you've the great Hal Blaine. Meanwhile, Cliff Hils anchored the bass position and Leon Russell played piano while Steve Douglas wailed on sax. What a fabulous group of "Weirdos"! The combination of A-list players and a top-notch studio produced a superior-sounding LP, every bit the sonic equal of contemporary recordings from stars like the Super Stocks and the Beach Boys. |
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Sundazed Music 2012 | CD | 18.00 € |
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| Mr. Gasser & The Weirdos - Surfink ! originally released in 1964 on Capitol Records. |
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Sundazed Music 2012 | LP | 20.00 € |
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| Mr. Gasser And The Weirdos - Rods N' Ratfinks When it came time to follow up the success of Hot Rod Hootenanny, Capitol's Fred Rice wisely stuck to the arithmetic of the first LP: great Ed "Big Daddy" Roth-inspired songs + the best session musicians + Capitol Studios = another outrageous LP! Rods n' Ratfinks continued the party started on the first album under the direction of Gary Usher. Piling in the Weirdos' woodie for this road trip were Glen Campbell, James Burton and Billy Strange on guitar, Ernie Freeman on piano, Carol Kaye and Steve LaFever on bass, Earl Palmer on drums and Steve Douglas on sax. Gary Usher, Richard Burns and Chuck Girard returned to do vocal duty. And, of course, "Big Daddy" himself created another screaming-technicolor-suitable-for-framing LP cover! Looking at the illustration, if you peep past the wacked-out jalopy, you'll spy Rat Fink hanging at least two as he shoots the curl. Take that, Sponge Bob! A true "renaissance man," Ed "Big Daddy" Roth excelled in a number of pursuits. Artist, cartoonist, car-customizer and pinstriper were but a few of his specialties. Growing up in California, surrounded by the surf and hot rod movements of the late '50s, Roth's expansive imagination was set in motion and popular culture would never be the same. Working closely with Ed Roth, who assumed the nom du disc "Mr. Gasser," Fred Rice carefully selected vocalists and musicians for the recording session. Gary Usher assembled and led the vocal talent, which included Jackie "Robyn" Ward, Chuck Girard, Richard Burns and Darlene Love. And how's this for a guitar line-up: Glen Campbell, Jerry Cole and Howard Roberts! On drums you've the great Hal Blaine. Meanwhile, Cliff Hils anchored the bass position and Leon Russell played piano while Steve Douglas wailed on sax. What a fabulous group of "Weirdos"! The combination of A-list players and a top-notch studio produced a superior-sounding LP, every bit the sonic equal of contemporary recordings from stars like the Super Stocks and the Beach Boys. |
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Sundazed Music 2012 | LP | 20.00 € |
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| Neil Sedaka - Circulate |
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Hallmark Music 2012 | CD | 6.90 € |
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| Paul Simon & Art Garfunkel - Two Teenagers - The Singles 1957-1961 There have been many collections of these pre Simon & Garfunkel releases but this is the first chronological compilation to feature all of their commercially released singles between 1957 and 1961. Includes tracks originally recorded as Tom & Jerry, Jerry Landis, Artie Garr and Tico & The Triumphs plus rare solo singles from both Art and Paul. The music on this disc is a far cry from the music that Simon and Garfunkel produced over the last forty years yet all of it captures the American pop music world in the years just before the pop British Invasion better than any greatest hits collection of the era ever could. Fully detailed liner notes with biography and career achievements. |
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Jasmine Records 2012 | CD | 12.00 € |
