60s / Beat / Folk etc (CD)
Result of your query: 736 products
| 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: - 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: - Rare & Raw Beat From The Sixties Vol. 4 24 biisiä (Safaris, Glorious Five, Saphires, Steadtfast, Divers, High Spirits, Lord Crazy,Original Surfers, United Five, Johnny Cliff, Golfs, Eyes, Pounds, Rollicks, Walkers, Liverpool Beats, Leanjeans) |
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Gee Dee Music 1997 | CD | 17.00 € |
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| VA: - Rare & Raw Beat From The Sixties Vol. 5 24 biisiä (mm Vanguards, Gardenias, Starfighters, Gloomy Moon Singers, News, 5 Torquays, Details, Rockets, Ragged Men, Shaggys, Jimmy Ward, Kentuckys) |
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Gee Dee Music 1998 | CD | 17.00 € |
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| VA: - Rare & Raw Beat From The Sixties Vol. 6 25 biisiä (Kentuckys, Sharks, Sonny Stewart, Rebbels, Krauts, Jimmy Ward, Blue Rhythms, Hit Nuts, Gitta & The Shouters, Rascals) |
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Gee Dee Music 1998 | CD | 17.00 € |
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| VA: - Rare & Raw Beat From The Sixties Vol. 7 23 biisiä (Silver Strings, Peter Reese, Echoes, Maniacs, Lemons, Brains Ltd, Cave-Men, Regents, Eyes, Loosers, Roosters jne) |
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Gee Dee Music 1999 | CD | 17.00 € |
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| VA: - Rare & Raw Beat From The Sixties Vol. 8 25 biisiä (Vampires, Electric Frogs, Mike Roger, Savages, Reacers, Rascals, Funky Family, Tortilla Flat, Little Steve, Why Five, Toxic) |
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Gee Dee Music 1999 | CD | 17.00 € |
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| VA: - Rautalankaklassikot -Kolme kitaraa 20 Suosikkia 20 tracks finnish instrumental recordings from 1961-1982 |
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Warner Music 1998 | CD | 10.00 € |
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| VA: - Really ! They Sing It In German Vol 2 27 beat hits Sung in German language Vol 2. Supremes, Neil Sedaka, Johnny Cash, Leslie Gore, Brian Hyland, Everly Brothers, Johnny Tillotson, Bobby Bare, Earl Grant... |
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Really 1996 | CD | 17.00 € |
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| VA: - Riding The Curl - The Surf Music Explosion 1958-61 It's been said that surfing is the only sport with its own particular genre of music. It sprang up in the years between 1958 and 1961 along the southern Californian coastline; a new lifestyle around which a whole culture evolved. Surf music was inspired by the likes of The Ventures and Link Wray and then pioneered by the reverb-drenched guitars of Dick Dale and a legion of loud, primitive local bands such as the Bel-Airs, whose ‘Mr. Moto’ was one of the genre's early anthems. The second half of this set is devoted to Bud Shank's remarkable music for Bruce Brown's exhilarating debut surfing movie, Slippery When Wet. Brown chose a modern jazz scoring because he felt it would be new and different and his judgement was good. The Quartet improvised the music while actually watching the film, giving the musicians freedom to express more clearly the actual thrill of the surfer than any pre-written score. |
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Cherry Red Records 2012 | CD | 15.00 € |
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| VA: - Riot City! 31 tracks 1960-1965 |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Rock Around The World Vol. 2 26 tracks - Rock Around The World - Australia, New Zealand, South Africk, Thailand, Mexico, Japan.. |
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Blakey Records 2008 | CD | 17.00 € |
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| VA: - Rock Around The World Vol. 3 28 rare, wild and rockin' tracks from sweden |
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Blakey Records 2008 | CD | 17.00 € |
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| VA: - Rock Around The World Vol. 4 25 tracks rockers from Venezuela, Australia, France, Denmark, Belgium, South Africa, Nicaragua, Sweden, Norway, Switzerland & UK |
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Blakey Records 2009 | CD | 17.00 € |
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| VA: - Rock Hits Of The Sixties 16 tracks 60s rock |
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Chekaway Publishing | CD | 18.00 € |
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| VA: - Rock On ROCK ON was the first collectors' shop in England to stock almost every style of retro music. This compilation resounded at the Rock On palaces of wax is a turkey-free zone, with a little something for everyone. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Rock Your Baby t’s an odd truism in music that the songs that last the longest aren’t the Grammy winners, or the Mull of Kintyres or the multi million-selling soundtracks, but the songs that are sung in the playground and passed down from generation to generation. Maybe things have changed since I was a loveable scamp, but certainly in the 70s I was gleefully singing songs about the various bells of London or mass death via the plague. Just as oddly, if I were somehow elevated a minimum of two inches higher than my classmates I would proudly declare them dirty rascals, despite the fact this hadn’t been an effective insult for over a century. Perhaps today a government department sponsored by an alcopop manufacturer gives credits according to which corporate-owned nastiness kids choose to jig about to, but I for one hanker after a more innocent time. Which is exactly where this album comes in. I love my kids, really I do. Even when I think I don’t, deep down I know I do. I love my kids and I love my car and I love my music, so this album was put together for those infuriating long journeys and those infuriating short journeys, when Clive and Natasha are creating in the backseat. We all fancy a singalong but I’m not in the mood for the tweenies, but I am in the mood for a long list of names that almost rhyme with food, or songs about idiot amphibians or dance tunes about monkeys. This will keep us all entertained for a couple of hours, till the little poppets have worn themselves out and I can rest easy, safe in the knowledge that I’m a great dad, and that my kids are entirely fictional. Which is a relief, as he doesn’t really look much like me and I’m not entirely sure if that’s how you spell her name. So here we go, a new musical curriculum for the young and the simple of mind. By Mark Lamarr (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Rockabilly Psychosis And The Garage Disease 16 tracks |
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Ace Records 1989 | CD | 17.00 € |
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| VA: - Sabre Records Story Detroit, Michigan instrumental and vocal Rock ‘n’ Roll from the late ‘50s and early ‘60s featuring some killer songs like the hit “What’s The Word” by The Thunder Rocks Sabre Records was started in 1960 by the Thunder Rocks, who were by that time a household name in Detroit. Their first release was Sabre #100 Thunder Rocks “War Path/Restless". With the launch of their own phrase the band had coined earlier “Ride the Rockin’ Rocket” took meaning and they were off!Sabre Records had little difficulty signing another one of the more prominent groups for it’s next release: The Low Rocks. After these two releases the popularity of the label and the bands increased in the Great Lakes area and soon they added other incredible acts in their roster like The Valiants, Egyptians, and Fred Farrah. This CD compilation is an outstanding research project of a musical phenomenon that transcends time and styles. A must for fans of the Back From The Grave, Strummin’ Mental, Teenage Shutdown and Pebbles. Includes 22 page booklet with lots of rare photos, record labels, and extensive liner notes… |
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Get Hip Recordings 1998 | CD | 17.00 € |
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| VA: - Sassafras & Moonshine The Songs Of Laura Nyro Laura Nyro was famous for serving guests tuna fish sandwiches, her culinary repertoire being slim. I returned the favour: because I knew she’d named her publishing company Tuna Fish Music, I brought her a tuna fish sandwich backstage at the Troubadour in1969. Yes, I was an embarrassingly diehard fan of the singer-songwriter, one of those young college women (along with more than a handful of men) who mooned over her and her music. She was so passionate, so soulful, so womanly. We were girls still; she seemed to have already unlocked secrets of grownup life and love, even though she was only a couple of years older. She had something to teach us and we were eager to learn. It didn’t matter if we could understand her elusive lyrics; we felt them. Sassafras and moonshine? That felt to me like being high on liquor and a spice-filled sky. Buckles off shingles / off a cockleshell on Norway basin. That felt exotic and old-fashioned, all at once. Laura led us through a sensory wonderland and we followed, enchanted. And her music: it burned, it soared, it shuffled, it vibrated. She whispered, she belted, she screamed at times. And we adored every measure. So, it seemed, did many of the musicians of her time. Everyone wanted to record a Laura Nyro song, from Peter, Paul & Mary to the 5th Dimension, from jazz instrumentalists to all the other artists in this collection. Laura’s songs were gold – even if her own recordings never made a big commercial splash. And scores of other musical artists who didn’t record Laura’s songs were extraordinarily influenced by her. As singer-songwriter Wendy Waldman told me, Laura liberated musicians to employ all their influences in crafting a pop song – just as she had combined jazz, folk, classical, 60s soul, the Beatles, Dylan and Tin Pan Alley. “All of the great songwriters have combined certain elements, maybe three at a time,” said Waldman, “but [Laura] would combine ten of them. It was so ahead of its time that it’s still ahead of its time.” Those of us who loved her music worshipped her transcendent performances as well as her brilliant recordings. I was lucky enough to see her more than a dozen times, sometimes sitting just steps away from her as she pounded out her syncopated piano rhythms in a small club. She was like a shaman holding court in the early days of her career; in later years she was a wise and welcoming earth mother, enveloping us with her resonant vocals. On a hot August night this summer, Laura came back to her hometown,New York City, even though she’s been gone from us since her death in 1997. But Lincoln Center brought her back to life by sponsoring an outdoor tribute concert, featuring artists who variously knew, loved and worked with Laura. Her brother Jan Nigro sang ‘And When I Die’ – the precocious composition Laura wrote in her teens – while her son Gil Bianchini performed a rap to ‘Eli’s Comin’’. Felix Cavaliere of the Rascals, who produced one of Laura’s albums, sang the summer-ready ‘Blowin’ Away’, while Nona Hendryx and Sarah Dash – two-thirds of Labelle – performed several songs off their classic Nyro collaboration “Gonna Take A Miracle”. Melissa Manchester introduced ‘Stoned Soul Picnic’ by reminding us that Laura had asked a question no one had heard before: “Can you surry?” I was a teenage fan again in the muggy New York twilight, a wide smile stuck to my face. How perfect to hear that music in the city that shaped it – the city that Laura showed us to be, as Bette Midler put it when she inducted her into the Rock & Roll Hall of Fame this past spring, “an extraordinary place to be young, alive and in love”. But I was also that grown up woman now; I had even written a biography of Laura Nyro ten years earlier. Nonetheless, when someone’s music touches you so deeply, is engraved forever on your young heart, you can easily return to the age you were when you heard it the first time. I suggest that New York City hold a Laura Nyro night every summer from now on. I’ll be there, ready to surry on soul. And if I wasn’t a vegetarian, I’d be eating a tuna fish sandwich while the music played. By Michele Kort (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Say When - Ember Sixties Pop Vol. 1 22 rare tracks from British indie label EMBER Records. Sixties Pop scene |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Shaggerman Rock'n'Roll Vol. 2 25 tracks |
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Hero | CD | 15.00 € |
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| VA: - Shake Rattle And Roll ! 31 biisiä Australian Crest Labelilta vuosilta 1961-1964 |
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Canetoad Records | CD | 17.00 € |
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| VA: - Shout! Northwest Killers Vol. 2 1964-65 19 tracks |
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Norton Records 2001 | CD | 17.00 € |
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| VA: - Sie Liebt Dich Weitere Beatles Lieder Vol. 2, 60s beatles biisejä saksaksi |
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Bear Family 1997 | CD | 17.00 € |
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| VA: - Sing Me A Rainbow - A Trident Anthology 1965-67 2CD Mid 0s San Francisco had its own Brill Building in North Beach's Columbus Tower, home of Frank Werber's Trident Productions. This is the brief but fascinating story of the Trident stable, filled with great pop, garage and SF folk rock sounds |
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Ace Records 2008 | CD | 25.00 € |
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| VA: - Sixties Years Vol 1 - French 60s SP Collection Lafayetets / Kinetic / Lords / Dynamites .. 22 biisiä vuosilta 1962-1966 |
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Magic Records 1995 | CD | 17.00 € |
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| VA: - Sixties Years Vol 5 - French 60s SP Collection 22 biisiä vuosilta 1966-68 mm Trifle / Simon Dupree / Tremeloes / Idle Race / Paul Revere / Love Affair / Keith Relf / Consortium |
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Magic Records 1997 | CD | 17.00 € |
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| VA: - Smash Boom Bang ! Songs And Production Of Feldman Goldstein As a songwriting collective their surnames were never likely to trip off the tongue as smoothly as a Mann & Weil, a Goffin & King or even a Boyce & Hart. In fact, to the uninitiated, Feldman-Goldstein-Gottehrer sounded more like a high-powered law firm than three New York-based writer-producers who hit a winning streak with their highly stylised productions and artful songs in the mid-60s. Together for a mere four years, Bob Feldman, Jerry Goldstein and Richard Gottehrer were mavericks, a trio of Jewish musketeers who never took themselves quite as seriously as some of their peers and seemed to have a lot of fun testing the limits as they made their way in the music business. And where others saw their careers stutter and stall in the wake of Beatlemania’s new frontiers, F-G-G rode the crest of the new wave as though they were part of it – which, to some extent, they were. What really distinguished F-G-G was the hard-edged kinetic energy of their productions, whose bruising headlong thrust was propelled by the drummer (usually New York session pro Herb Lavelle) surrounded by a massed welter of percussion effects. Their work in the studio was also characterised by a keen sense of spatial awareness with lots of air and ambiance playing their part. Yet, for all this, the trio were just as easily capable of switching to the opposite extreme, penning tender soul ballads of blissful sophistication such as ‘The Drifter’ (recorded by Ray Pollard in 1965) and ‘Giving Up On Love’ (a hit for Jerry Butler in 1964). Best of all, they had few pretensions. Where Mann & Weil saw themselves as potential heirs to the great Broadway writers, harbouring, as did many of their peers, ambitions of breaking into legitimate musical theatre, F-G-G owed more to Chuck Berry, Bo Diddley and Jerry Lee Lewis than to George Gershwin or Frank Loesser. The trio hit their stride in the mid-60s with a varied portfolio that included the #1s ‘Hang On Sloopy’ by the McCoys and ‘My Boyfriend’s Back’ by the Angels - and several chartmakers by the Strangeloves, the selfsame threesome masquerading as a rock band. Initially, they specialised in girl groups – some real, some fabricated – and applied their distinctive touch to every one before moving into the rock field. “Smash, Boom, Bang!” is exciting stuff from end to end, much of it new to CD and all held together by the distinctive F-G-G production imprimatur. This collection comes to you with the full co-operation and involvement of Feldman, Goldstein and Gottehrer themselves and comes with a sumptuous 28-page booklet packed with rare memorabilia. By Rob Finnis (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Soda Pop Babies 28 biisiä naisartisteja |
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Classics Records | CD | 15.00 € |
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| VA: - Something Good From The Goffin & King Songbook A new volume in Ace’s Songwriters series is always a cause for celebration, and all the more so when the writers concerned are Gerry Goffin and Carole King. As arguably the greatest of the so-called Brill Building teams, their catalogue is unmatched in its quality and hit-rate. No songwriters of the era articulated the emotions of adolescence and the pains of teen-dom with quite the same mix of innocence and sophistication of Goffin and King; they were, after all, still teenagers themselves when they were crafting much of this material, so were experiencing the same emotions as their audience. Even so, you might think that, this being Ace’s third collection of their compositions, the well of hits might have run dry. But then “Something Good” opens with the Drifters’ joyous ‘At The Club’ (the superior and rarely heard single version) and you know that once again Mick Patrick and Tony Rounce have served up another peerless compilation of classics, near misses and lost obscurities. You’ll find hits aplenty on “Something Good”, including essential recordings from the Chiffons (‘One Fine Day’), the Byrds (‘Goin’ Back’) and the Cookies (‘Don’t Say Nothin’ Bad (About My Baby)’). But, as is their way, the compilers have again taken the path less travelled, usually plumping for a more obscure interpretation (or, more often, an earlier recording) of a catalogue favourite. Thus we get Bunny Sigler’s version of ‘Will You Love Me Tomorrow’ over the Shirelles’, ‘The Loco-Motion’ interpreted by Dee Dee Sharp rather than Little Eva, and a version of ‘It Might As Well Rain Until September’ from Bobby Vee instead of Carole’s own take. Whether this is by design isn’t clear (or particularly relevant), but boy, it ain’t half refreshing. Revelations also come thick and fast. Bobby Goldsboro’s warm, optimistic ballad ‘The Time For Us’ is new to me, and is the only known recording of this number. At the other end of the spectrum is the Eccentric’s’ (that’s not a typo!) ‘What You Got’, a snotty, clangourous freakbeat gem apparently modelled very closely on Carole’s original demo. She could turn her hand to anything, it seems. And it’s always a joy – though one tinged with melancholy – to hear Lesley Gore’s ‘The Old Crowd’, a vibrant yet achingly wistful rumination on lost youth, and for me as good as anything Gerry & Carole wrote. The sleeve notes tell the story behind each recording, and the booklet is brimful with the kind of photos and details you come to expect from Ace. The CD’s strapline indicates that this third instalment of the Goffin & King songbook might just be the best one yet. Who am I to argue? By Harvey Williams (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Sound Of Young Sacramento The mid-1960s rock scene in Sacramento may appear isolated and insular especially when compared to the activities of the neighbouring San Francisco Bay Area, but its teenage audience was as partisan as any other across the United States in those halcyon days. Major acts like the Stones and the Byrds played Sacramento before they ever properly visited San Francisco-.-on their rare stateside visits, the Hollies and the Zombies avoided the Bay Area altogether, heading straight for Sac. The hip programming of the city's two AM power-houses KROY and KXOA fuelled the teen market, whilst savvy promoters exploited it to the max. And there were hundreds of local garage bands ready to cater to the massive, restless audience in the city and its environs. Five years of sleuthing have gone into the preparation of The Sound Of Young Sacramento, the latest volume in the Nuggets From the Golden State series, which focuses on the very best teen garage and folk-rock groups that visited the Bill Rase Recording Studio & Talent Centre from 1965 to 1967. Bill's modest operation in those years gave these teenage combos an affordable outlet with which to immortalise themselves on wax, and as a result many bands beat a path to his Franklin Boulevard door. Rase custom-pressed singles for the acts to sell at their shows, often in batches of a few hundred or less, resulting in some captivatingly rare releases. Included here are several records that are acknowledged punk classics, such as the superbly snotty I'll Be Gone by the Opposite Six and the psychotic surf of Too Much Loving by Dixon's Liberty Lads. Also featured are the, lesser known yet no less worthy, records by the Children Of Stone, Hustlers, Kee-Notes and others. There's Brit-Invasion sounds from the Coachmen and cryptic minor key moodiness from the Living End and the Night. Unlike so many other studios, Bill Rase meticulously archived all his master tapes from the period, and close examination of these has thrown up further unreleased and quite astounding gems of a punk and folk-rock variety. We therefore proudly present several previously unissued ear-opening cuts from both popular Sacramento groups like the Psy-Kicks and Fugitives, and hopelessly obscure high school combos such as the Mergers, Chelsea Sidecar, Kix and Goodtime Music Co. The high standard and idiosyncratic sound of all the recordings featured makes this an exceptionally strong and listenable compilation. In addition, the diligent research for the project required tracing members of each act featured, which in turn uncovered a wealth of facts, photos and memorabilia, cramming the booklet with an authoritative history of both the groups and the scene from whence they came. After widely-acclaimed releases in the Nuggets' series from Sacramento-related groups like Kak, the Oxford Circle and She, The Sound Of Young Sacramento continues to mine the motherlode of great rock'n'roll from the mid-1960s heyday of California's capital. By Alec Palao (Ace Records) |
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Ace Records 2000 | CD | 17.00 € |
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| VA: - Summer Turns to Autumn British indie label Ember released a number of rock albums and singles between 1969 and 1972, which today are much sought after by collectors of psychedelic, progressive and folk rock sounds. Many of the best of these are gathered on Summer Turns To Autumn, the companion to Looking Towards The Sky (FVCD041). Foremost among the artists compiled here is progressive rock band Blonde On Blonde, represented by tracks from both of their Ember albums. Fantastic Voyage has salvaged two tracks from Blue Beard’s album. An early songwriting/production project for Bob Welch, who next surfaced in Fleetwood Mac, the album was only released in Italy, but the single Sly Willy was more widely available and is highly prized by collectors of funky rock. Tyrannosaurus Rex-style acoustic hippy duo Knocker Jungle and progressive folk group 9.30 Fly each managed one now highly collectable long player for the label. The remainder of the material ranges from the fuzzy psychedelic rock of Canadians The Dorians and the melodic folk rock of Paddy Maguire, backed by heavy friends Steve Winwood and Jerry Donahue (of Fotheringay), to the soul-rock fusion of Milt Matthews Inc, here interpreting a Blind Faith song, and a previously unissued folk rock rendition of East Virginia by Polly Niles. Summer Turns To Autumn and Looking Towards The Sky complement Fantastic Voyage’s existing, highly popular compilations of Ember Beat and Ember Pop, with no duplication of tracks. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Super K Kollection Vol. 1 |
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Collectables | CD | 13.00 € |
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| VA: - Surfin Draggin' & Twistin' - 1960's Rock'n' Roll |
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SPV 2008 | CD | 13.00 € |
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| VA: - SURFIN’ IN THE MIDWEST VOL. 3 Eighteen fantastic reverb soaked sixties surf instrumentals! Here’s the rare third installment in this fantastic series. Vols. 1,2 and 4 were strictly on vinyl but the elusive third set was CD only. This is the last of ‘em! Booklet has extensive bios and rare photos! |
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UNLIMITED PRODUCTIONS | CD | 19.00 € |
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| VA: - Swedisc Collection 2CD 2CD = 54 biisiä. Ruotsalaista beat ja rock musiikkia 60-luvulta |
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Solna Records 1999 | CD | 20.00 € |
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| VA: - Sweet Inspiration - The Songs Of Dan Penn & Spooner Oldham We have received many requests to add Dan Penn and Spooner Oldham to our songwriter series. It’s never really been about if we would, so much as when. With 2011 being something of a “Year Of Southern Soul” for Ace and Kent, what better way to kick it off than with a genius gathering of 24 of the best songs ever to bear their names below the title. “Sweet Inspiration” does a bang-up job of assembling the key songs Dan and Spooner wrote together during the 1960s and early 1970s. A quick look at the track listing will show prospective buyers that my co-compiler Bob Dunham and I have tried hard to make sure that there’s a version of every major Penn and Oldham composition included. We haven’t always chosen the obvious versions, so there will be some nice surprises here for even the most avid collectors. It was difficult to bring what started out as a massive wish list down to just 24 selections, but we think our choices do justice to the performers of the songs and, most importantly, the writers. Everyone will have their own highlights. Mine would include Arthur Conley’s Fame recording of ‘In The Same Old Way’ (which was originally written as a straight ahead country song) and country thrush Jeanne Newman’s riveting, previously unissued Goldwax recording of ‘It Tears Me Up’, one of the earliest songs Penn and Oldham wrote together. I’m also very partial to the Southern sincerity of the Box Tops’ ‘Everything I Am’ (a UK Top 3 hit for Plastic Penny in late 1967) and Tommy Roe’s little-known 1966 take on ‘Wish You Didn’t Have To Go’, a number made more famous a year later by James and Bobby Purify. But greatness abounds from beginning to end of this set, and it’s unlikely that any prospective purchaser will not be totally impressed by everything it contains. A companion volume – which will also include songs co-written by Dan and/or Spooner with collaborators such as Donnie Fritts, Rick Hall, Marlin Greene and Chips Moman – will hopefully see the light of day next year. In the meantime, here’s over an hour of the sweetly inspired songwriting of Wallace Daniel Pennington and Lindon Dewey Oldham. Oh, what a power! By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Tee-Vee Tops Die Songs und Originale aus der TV-Werbung. 18 tracks |
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Gee Dee Music 1996 | CD | 12.00 € |
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| VA: - Teen Beat Vol. 4 30 tracks from 1956-67 |
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Ace Records 1997 | CD | 17.00 € |
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| VA: - Teen Rockin' Fever Vol. 1 24 hot party tracks |
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Scooter Records | CD | 15.00 € |
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| VA: - Teen Rockin' Fever Vol. 2 |
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Scooter Records 2010 | CD | 15.00 € |
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| VA: - Teenage Dreams - Teenage Angst - Just About.. 2CD 60 tracks |
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Smith & Co 2012 | CD | 13.00 € |
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| VA: - Teenage Shutdown ! Frantic Frat-Stomp Fracas ! |
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Teenage Shutdown 1995 | CD | 18.00 € |
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| VA: - Teenage Shutdown ! Teen Jangler Blowout |
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Teenage Shutdown 1995 | CD | 18.00 € |
