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| Jerry Cole - Guitars A Go Go Jerry did it all and did it like no-one else could. He recorded a load of high-octane, low-down, all-original exploitation projects and several great records under his own name. There was nothing vanilla about Jerry’s music and he had the unique ability to understand which way the trends were going and to make them his own. Jerry’s career as a “fictitious” band leader began with his work on the Crown label. In 1963 he wrote the music, produced and played on several hotrod/motorcycle-themed LPs for the label by fictitious artists including the Hot Rodders, the Blasters, the Winners, the Scramblers and the Strokers. While these LPs include some fun and sometimes dreadful vocals, the instrumentals are raw, take-no-prisoners slabs of hot rod music at its best. That same year he recorded the first of three Joe Saraceno-produced themed LPs for Capitol, “Outer Limits” (exploiting the exploiter!) as Jerry Cole & the Spacemen. Introduced to Capitol by Bobby Darin, Jerry went on to record “Hot Rod Dance Party” and the seminal “Surf Age”, regarded as probably the most sophisticated surf LP of the era. He also appeared on several Gary Usher Capitol projects including “Hot Rod High” by the Knights. At the same time, Jerry was recording loads of drag racing, motorcycle and speed boat-themed instro albums for the Liberty label under the the Hornets banner. While this is not a complete list of studio instro LPs he appeared on, all of his efforts were fast-paced, balls-to-the walls original LPs that hold up well today. With the advent of the go-go craze, Jerry recorded three themed LPs for Crown between 1965-66. Being situated in Hollywood, working the Sunset Strip and band leader of television’s smash dance/music show Shindig, Cole was smack dab in the middle of the swinging go-go scene. The first LP, “Guitars A Go Go” by the Stingers, included a few of the same tracks from the hotrod LPs, sans the hotrod sound effects with alternate titles. ‘Dang Thing’ appears as ‘Bad Rubber’ from the Blasters’ “Sounds Of The Drags”, ‘Coming On’ as “Pealin’ Out’ from the Strokers’ “Hot Rod Alley” and ‘Unchained Soul’ is an alternate version of ‘The Green Monster’ from the same LP. Also compare ‘Great Scott’ with the Champs’ ‘Red Eye’ – Jerry worked this riff on several tracks during the 60s. The next LP, “A Go Go Guitars” was credited to him and is somewhat more polished. All 10 tracks are standouts and ‘Curfew’, ‘Really Got it Bad’, ‘Sloppin’’, ‘Tower Of London’ and ‘Teen Age Fair’ are featured here. “Guitars A Go Go Vol 2”, this time by Jerry Cole and the Stingers, features Jerry playing a ferocious, twangy, rubber band-sounding Telecaster backed by Leon Russell’s signature piano and long-time band mates/brothers Glen and Norm Cass with Don Dexter on drums. This was one hell of a tightly-wound rhythm section and deserve much credit for Jerry’s overall sound on most of his instrumental recordings. This just might be some of the fastest and rockin’-est guitar playing ever recorded. By Mike Vernon (from Ace Records website) |
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Ace Records 2010 | CD | 17.00 € |
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| Johnny And The Hurricanes - Stormsville 12 tracks |
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2010 | CD | 7.00 € |
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| Mickey Baker - But Wildest 27 tracks |
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2010 | CD | 18.00 € |
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| Rhet Stoller - Surf Rider 26 tracks 1960-1970 |
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2010 | CD | 17.00 € |
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| VA: - Birth Of Surf Vol. 2 “The Birth Of Surf Volume 2” follows the pattern of Vol 1 in taking a slice through the timeline of rock instrumental history leading up to and on through the first surf era. Influential artists such as the Ventures, Wailers and Revels are joined by early examples of the sounds that became surf such as the Scarlets’ ‘Stampede’, the Rockin’ Rebels’ ‘Wild Weekend’ and the Busters on ‘Bust Out’. Presented chronologically, the CD then moves on to early surf titles commencing with one that helped define the genre: ‘Surf Beat’ from Dick Dale, the irrefutable King of the Surf Guitar. Four other hit-makers are represented by their equally exciting follow-up singles: the Surfaris with ‘Point Panic’ (which also charted), the Chantays on ‘Monsoon’, ‘Hot Doggin’’ by the Astronauts and ‘Midnight Run’ from the Pyramids. Rather bizarrely, those last three were not included on any of the groups’ 1960s LPs. Unusually for that time the Centurions released an LP yet never had a single issued. But that didn't stop Quentin Tarantino from recognising the power of their track ‘Bullwinkle Pt II’ and using it on the soundtrack to his 1994 film Pulp Fiction where it is heard to great effect during the infamous shooting up scene. The Trashmen had a big vocal hit with ‘Surfin’ Bird’ but they loved their surf instrumentals and they are represented here by their magnificently surfed-up arrangement of ‘Malaguena’ from the “Surfin’ Bird” LP. Bobby Fuller had his hits with the Bobby Fuller Four two years after releasing his classically surf-styled ‘Our Favorite Martian’ as by Bobby Fuller & the Fanatics. Jim Messina also had to wait for his recognition when he later joined Buffalo Springfield, formed Poco and then Loggins & Messina with Kenny Loggins. But it was as Jim Messina & the Jesters that he secured an album release in 1964 titled “The Dragsters”, ‘The Thing’ being a particularly potent example of the group's high energy approach. This track is being made available again for the first time in over 45 years. As if all those big names weren’t enough, “The Birth Of Surf Volume 2” features no less than five more first-time-on-CD rarities. ‘Enchanted’ (the Pagents), ‘Baggies’ (the Bel-Aires), ‘Crash’ (the Creations), ‘Cloudburst’ (the Kan Dells) and ‘Unknown’ (the Vy-Dels), none of which have been released in any form since they first surfaced on small independent labels in the 1960s. With still more rarities such as ‘Golash’ by the Intrepides and ‘Mr X’ by the Velvetones plus the original version of ‘Theme From The Endless Summer’ by the Sandals, this collection is at least a match for its successful predecessor. It’s an exciting listen, an attractive purchase for the casual buyer, and is sure to be an essential acquisition for collectors. By Alan Taylor (ACE RECORDS) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Essential Rock'n'Roll Instrumentals 2CD 2CD = 40 tracks |
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2010 | CD | 10.00 € |
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| VA: - Great 60s Instrumentals In the twenty first century Rock and Pop instrumentals are no longer a force on the music charts but there was a time, a brief golden era, when Instros ruled. The classic Rock and Roll era of the 1950's and 1960's brought to the fore countless instantly recognizable instrumental hits and many are featured on this groovy little collection. All the tracks featured on this CD are cover versions of the original hits but that's not to say they are in any way inferior to their better known twin brothers and sisters. Quite the contrary, most of these songs were considered standards and were recorded time and time again by a host of different recording artists back in the day. Tracks such as Pipeline, Wipe Out, Memphis and Telstar are almost indistinguishable from the original versions and in some cases are cleaner and edgier than the hits. It's no wonder as some of the musicians featured here had serious Rock and Surf credibility, having written and performed on many records of the genre, including Jan and Dean, Ronnie and The Daytonas and Gary Lewis & The Playboys among others. Most of the tracks featuring horns would have been produced by William Beasley withoots Randolph playing sax and leading the band. Boots had a successful recording career as well as working with everyone from Elvis Presley, Roy Orbison to Ronnie Hawkins and REO Speedwagon. This is good crusin' music...Good music is timeless! |
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2010 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1961 To no one’s surprise, the “London American Year By Year” series has proven to be an instant success for Ace. The combination of nostalgia for both the era that the series will cover and for the label itself, not to mention the prospect of owning hundreds more vintage gems on Ace CD for the first time, has ensured that – as the late Fergus Cashin of the Daily Sketch might have put it - “this one will run and run”. Indeed, such is the demand for future volumes that we’ve already stepped up the scheduling of LAYBY from two to three times a year. (Well, your compilers will both be well into their seventies by the time of the intended final volume, and like you we’d prefer to live to see the series through to its grand finale – thus it seemed a sensible thing to do…). Fans can expect this January release of this 1961 volume to be followed by 1962 in October, with our first backtrack to 1959 as the tasty filler for this musical sandwich in June. We’d like to step that schedule up even more if we could – but as you can imagine, each volume is a mammoth undertaking for Ace’s licensing department, not to mention the amount of work that goes into sourcing the original London tapes and the matching the audio to the sound of the original 45s by the guys at Sound Mastering. These things just do not happen overnight, and we do need to put some other CDs out in between and around these releases to stay in business, y’know… All this notwithstanding, we kick off the ‘tennies’ with LAYBY 1961, which we feel more than upholds the standard set by its acclaimed predecessor. One of the main promises we made to the collector was that each volume would feature at least 20 tracks that were new to Ace CD. On this occasion, only one of the featured tracks has ever been heard on Ace before (Timi Yuro’s ‘Hurt’). This is quite astounding when one considers that debutantes here include Eddie Cochran’s ‘Weekend’, Del Shannon’s ‘So Long Baby’ and Jerry Lee Lewis’ ‘What’d I Say’, to name but three. It really does demonstrate how much rock ‘n’ roll gold there still is in ‘them thar hills’ to mine, doesn’t it? As ever, there’s extensive track-by-track commentary, with a shot of every featured London 45 to complement the annotation. An intro by long-time London collector Roger Cope perfectly sums up the feelings of everyone who ever put their pocket money or part of a meagre pay packet towards the purchase of one or more of these goodies, your compilers included. And the best news of all is that all of the songs run for less than two and a half minutes, so if there’s something here you don’t like (and we truthfully don’t expect everyone to enjoy everything that’s on offer across the series) you’re seldom more than 150 seconds away from something that you will!” By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Mit der Raupe fahr'n... Das waren noch Zeiten: Ab an die Raupe! Denn da lief die neueste Musik auf dem Freimarkt in Bremen, dem Oldenburger Krammermarkt, dem Hamburger Dom oder auf anderen Rummelplatz - Sausen. Discotheken gab's noch nicht - und wo sonst konnte man mit den Mädchen so schön flirten und bei geschlossenem Verdeck unbemerkt knutschen?! Die ersten Schmatzer in der Raupenbahn klingen bis heute nach, die Liebesschwüre hängen noch immer zwischen den alten Kufen der Bahn... Das Bremen - Eins - Team der 'Oldiebörse' holt diese unvergesslichen Erinnerungen und handfesten Gefühle zurück - die bei intensivem Hinhören plötzlich gar nicht mehr so alt erscheinen... Die RAUPENHITS der Oldiebörse, präsentiert von BEAR FAMILY RECORDS: ein Muss - nicht nur für den großen Rummel! |
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Bear Family 2010 | CD | 17.00 € |
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| VA: - Suomalaiset Rautalankalevytykset 1961-1968 Vol. 3 Sadoin Säh rare finnish 60s guitar instrumentals |
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2010 | CD | 18.00 € |
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| VA: - You Heard It Here First! Vol. 2 As a concept it’s a revelation – the original versions of (mostly) familiar songs that went on to become big hits by other artists. Familiarity is turned on its head as mental receptors attuned to the better-known hit versions – the received wisdom, if you like – are challenged for attention by the performers who made the original recordings to little or no acclaim. It’s a parallel universe where the reassuringly familiar landscape is a beautiful illusion. Volume 1 of “You Heard It Here First” was among our best sellers of last year and we believe that this sequel is an even stronger package. Here again are pop hits as the soundtrack to our lives – but not as we know them. Many of these original versions are exceedingly rare in vinyl form, notably Dan Penn’s self-penned original version of ‘I’m Your Puppet’ (on which Penn actually sings the line ‘I’m The Puppet’, in contrast to all the versions which followed) and the Corporation’s barnstorming ‘Candida’, subsequently a US #3 for Tony Orlando’s Dawn, though one wonders why the Corporation’s torrid original failed to make the same impact. Tony Joe White’s ‘Polk Salad Annie’, a top 10 hit on the Monument label in 1969, laid down the template for the so-called swamp rock sound and was later popularised by Elvis who had a UK hit with the song in 1973. But for all his seeming self-assurance, White had struggled to make the song work , having cut it for Monument as ‘Old Man Willis’ a year earlier before re-recording it with a fresh set of lyrics as ‘Polk Salad Annie’. Here’s how it sounded before the re-write – a truly intriguing juxtaposition. Most of Brian Hyland’s hits were written for him so it comes as a surprise to learn that his signature tune, ‘Sealed With A Kiss’, had first been recorded some two years earlier by the Four Voices, a clean-cut vocal group. That is the version which displays the apparent debt the song owed to ‘The Green Leaves of Summer’, a big hit of the day. Transmogrified by successive generations of folk and pop artists into ‘Wimoweh’ ‘The Lion Sleeps Tonight’, Solomon Linda’s African tribal chant, ‘Mbube’, must be one of the most misappropriated tunes in post-war pop music, though in recent years Linda began to receive the acknowledgement for his memorable if inadvertent contribution to the pop canon and we are proud to present it here. Sixties wheeler-dealer Simon Napier-Bell and TV maven Vicki Wickham took it upon themselves to pen English lyrics to a contemporary Italian hit, ’Io Che Non Vivo (Senza Te)’ in the back of a cab on their way to an evening meal at a restaurant in London’s West End in early 1966 – or so the redoubtable Napier-Bell has claimed in various autobiographies. Those twenty or so usefully occupied minutes produced ‘You Don’t Have To Say You Love Me’, under which title the song has provided something of a lifelong annuity for the pair. Pino Donaggio’s gorgeous Italian original of this classic power ballad is among the highlights of the set. ‘Sorrow’ was knocked out without much conscious effort as a filler for the McCoys’ first album in the wake of their 1965 mega-hit ‘Hang On Sloopy’. Maybe the producers (who also happened to write the song) missed a trick by consigning ‘Sorrow’ to makeweight status, but no matter as Brit duo the Sorrows took the song into the UK Top 10 a few months later. That was the version that inspired David Bowie’s recording but it’s the McCoys’ stripped-down original which probably packs the mightiest charm of all. The songs, compellingly sequenced, are all hits, the technicolour packaging incorporating all the prerequisite fax’n’info, gives off a warm comforting glow, and the entire concept constitutes a little bit of pop history in the making. What’s not to like? By Rob Finnis (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Les Paul & Friends - How High The Moon 3CD Hits & Rarities - from the wizard of Waukesha. 3CD = 76 tracks. Born Lester Polsfuss (1915-2009) in Waukesha, WI, guitarist Les Paul enjoyed a long and successful career in Pop and Jazz, and is remembered for his Top 5 hits with singer Mary Ford in the 1950s including ‘Mockin’ Bird Hill’ (US #3), ‘How High The Moon’ (US #1), ‘The World Is Waiting For The Sunrise’ (US #3) and ‘Vaya Con Dios’ (US #1, UK #7). However, Paul’s most enduring legacy was the creation of the solid-body electric guitar and his pioneering work in developing modern recording techniques such as multi-tracking, overdubbing and electronic echo. A multi-instrumentalist by his early teens with a keen interest in electronics, Paul was playing with Midwestern C&W bands at age thirteen. Migrating to Chicago in the 1930s he became a regular on WLS and later bandleader at WJJD in 1934, subsequently enjoying stardom as Hillbilly artist Red Hot Red and later Rhubarb Red. Along with Jimmy Atkins (Chet’s brother) and Ernie Newton he formed the Les Paul Trio, relocating to New York in 1937 where the group spent five years with bandleader Fred Waring’s Pennsylvanians orchestra. Paul set about revolutionising the guitar, and built his first prototype electric model (aka the “Log”) in 1941. His musical leanings now veered towards Jazz and he jammed with greats such as Louis Armstrong and Art Tatum. After stints running radio stations in Chicago, he was drafted in 1942, and worked for the Armed Forces Radio Service playing behind Rudee Vallee and Johnny Mercer. Upon his discharge in 1943, he became a staff musician at NBC radio in LA, and with his trio backed Bing Crosby and toured with the Andrews Sisters. In 1945 he built his first recording studio in his garage and started to experiment with now-commonplace techniques such as close-miking and echo delay. In July 1944 Paul performed with Nat King Cole at the first of Norman Leinz’s Jazz At The Philharmonic Auditorium (JATP) concerts and the two created a sensation. He recorded with Helen Forrest and the Delta Rhythm Boys. Towards the decade’s close he met and married singer Mary Ford and the two enjoyed a string of hit records on Capitol – among the very first to feature multi-tracking, with Ford’s vocal “answering” Paul’s guitar. During this time Paul also enjoyed several Top 10 instrumental hits including ‘Nola’ (US #9), ‘Meet Mr Callaghan’ (US #5) and ‘Tiger Rag’ (US #6), all of which feature here. Showcasing his fretboard wizardry and groundbreaking studio work, this is an exciting collection spanning 20 years of recordings and includes the 1950s hits, lesser-heard rarities, early material and live performances. |
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2009 | CD | 17.00 € |
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| Pipeline # 81 - Autumn 2009 The Ventures & The Wailers, The Eagles and more. |
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2009 | CD | 6.00 € |
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| VA: - Hits With Strings And Things The moment rock’n’roll was born, the major labels lost their grip on the market as numerous independent labels sprang up in every corner of America vying for a piece of the action in what became a commercial free-for-all. For every small town rockabilly following in Elvis’ shadow, there was a doo wop group hoping to emulate the Platters or Frankie Lymon & the Teenagers and, for a brief, glorious moment, the music business looked to the sticks or inner city housing projects rather than to Tin Pan Alley for its raw material. The one segment of the market where the majors were able to retain their dominance (and their dignity) was the orchestral or ‘easy’ format, populated by highly-schooled music men such as Andre Previn, Percy Faith and Billy Vaughn. These baton-wielders played a crucial role, arranging and conducting backgrounds for the era’s vocalists while often recording instrumentals in their own right. Their true metier lay in the album market which expanded rapidly with the advent of stereo recording in the late 1950s, though it was very often the kids who’d bought their hit 45s. Here are the orchestral and ‘easy’ instrumental hits, both big and small – but mostly big – that helped define the Golden Age of Popular American Music, an era spanning, roughly, 1956-1967, when Billboard’s Hot 100 brimmed with an eclectic cornucopia of sounds and styles unlikely to be repeated in today’s age of corporate, socially engineered music production. An element of the post-modern ironic in our approach makes “Instrumental Hits With Strings & Things” extremely pleasing on the ear while avoiding the blandness that often characterises other releases in this genre. There is surprise and delight at every turn and just as many subtle mood changes. Many of the tunes feature strings or horns (or a combination of both) with intrusions from the occasional twangy guitar (‘Flying Circle’) or an ondioline, an experimental electronic keyboard (only 2000 were ever made) heard playing the lead lines on Kai Winding’s 1963 smash ‘More’. Bill Pursell’s mystical ‘Our Winter Love’ seems to transcend time and space – it’s a dream sequence set to music spun in gossamer sound. MOJO rated “Instrumental Hits With Strings & Things” highly enough to award it 4-stars, describing some of the US-only hits (the majority) as "pleasantly alien". Three of the tunes, ‘Lost Love’, ‘Flying Circle’ and ‘Baby Elephant Walk’ appear on CD for the first time. Every selection has been mastered from tape, mostly stereo, and the muscular steroid-enhanced 28-page booklet bulges with period ephemera. The lowdown on each hit is from Rob Finnis who once led his own ‘easy’ outfit, the Marylebone Ensemble, whose radio hit, ‘Porcelain’ was covered by Sounds Orchestral. By Rob Finnis (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Joe Meek - The Lost Recordings 2CD Certainly Britain's, maybe the planet's most adventurous record producer, Joe Meek was a maverick in an age of conformity and a madcap sound surgeon before the world really knew what a record producer was for. Without Meek, the UK may well not have achieved the level of musical sophistication it has enjoyed since the early 1960’s - Meek even taught George Martin a number of tricks when they worked together at EMI. This collection represents Joe Meek’s early years, concentrating on the music he produced [and in many cases composed, albeit usually under one pseudonym or another] while working for labels and music entrepreneurs prior to his setting up of his legendary, independent Holloway Road studio RGM, in 1961. From Big Bill Broonzy’s scorching blues to Humphrey Lyttelton’s ground breaking Jazz and taking in Peggy Seeger, Eric Winstone, Lonnie Donnegan, Johnny Duncan, Red Price and numerous others, this 2 CD set illustrates perfectly how Joe Meek was pivotal in developing all genres of British music in the late 1950s and through much of the 1960s. These tracks have never previously been compiled together. |
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2009 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1960 EMI didn’t have one until 1962, Philips never had one at all, Pye tried hard, but remained in division two for much of its life and the Rank Organisation had one that rang up such huge losses they pretty much gave theirs away. The label none of those companies could match was housed on the Albert Embankment, the home of the Decca Record Company – the label was London American and it, unlike Top Rank, Pye International and Stateside was the label you turned to most often when looking for the best in American pop, R&B and rock’n’roll. America was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In Britain, the London logo made its debut in 1949 releasing material culled from its American namesake, but also from early US independents like Audivox, Jubilee, Derby, Cadence, Imperial, Essex and Jubilee. In 1954, a new prefix (HL) and numbering system (8001) was introduced and it’s this series that gave the London American label its legendary status. As rock’n’roll took hold in America new labels sprung up by the bucket load and Decca’s reputation for honest, straight forward dealing meant the new label entrepreneurs could trust Decca to pay its advances and deliver regular royalty statements and payments so the stature of the London American label grew rapidly. EMI’s Columbia, Parlophone and HMV labels had some US hits, others turned up on smaller British labels like Melodisc, Oriole and Starlite, but the cream was always to be found on the silver and black London label. Here you’d find material from Atlantic, Liberty (whose ability to survive and expand was partly made possible by a financial leap of faith by Sir Edward Lewis, the chairman of Decca who, when asked for a hundred thousand dollars advance for the rights to the Liberty catalogue in the mid-50s offered fifty thousand more, such was his belief in Liberty’s founder Si Waronker), Cadence, Dot, Jamie, Sun, Chess, Specialty, Warwick, Imperial and United Artists, most of which became major players whilst others like Greenwich, Sunbeam, Paris, Dore, Arwin, Judd, JDS and countless others turned out to be little more than ‘here today, gone tomorrow’ operations. Still, their recordings all found a home on London American. And so now Ace Records begins a year-by-year series celebrating the hits, misses and downright rarities that found a British outlet on the London American label, starting with 1960. Here you’ll find familiar recordings by Chuck Berry, Johnny Tillotson, Duane Eddy, Eddie Cochran, the Ventures, the Coasters and Johnny Burnette, but look more closely and you’ll find lesser-known records from the Delicates, whose members we now know more about than ever we knew in 1960, Teddy Redell with a track that’ll set you back £50 or £60 pounds now and Sonny Burgess, a wild rock‘n’roller who hadn’t noticed America’s chart was full of boy next door love songs in 1960. Here too, you’ll find Vernon Taylor’s sought-after version of Elvis’s ‘Mystery Train’, and even a good-time country sound from Wynn Stewart which London chose to only manufacture in Britain as an export item. But don’t let me keep you, grab your copy of The London American Label Year By Year and start re-living the sound of 1960. Then keep your eyes peeled for 1961, 1962, 1963. By Austin Powell (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Mad Mike Monsters Vol. 1 - A Tribute To Mad Mike Metrovich The wildest 45s discovered and popularized by enigmatic Pittsburgh hoo-doo DJ during his primo prime years 1964-67, compiled into three sets of instant party mashers! Massive gatefold LPs tell the story of the Mad One in his own words, complete with tons of memories from his many local fans, while the CD packs deliver the same in a pocket-size format! Absolutely staggering array of sounds from this Norton icon! All sizzle, no gristle! This is the first volume. |
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Norton Records 2009 | CD | 17.00 € |
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| VA: - Mad Mike Monsters Vol. 2 - A Tribute To Mad Mike Metrovich The story continues in this massive gatefold second volume |
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Norton Records 2009 | CD | 17.00 € |
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| VA: - Strictly Instrumental Vol. 11 28 tracks |
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Deejay 2009 | CD | 15.00 € |
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| VA: - Suomalaiset Rautalankalevytykset 1961-1968 Vol. 1 Sadoin Säh rare finnish 1960s guitar instrumentals |
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2009 | CD | 17.00 € |
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| VA: - Ännu Mera Svenska Rock Minnen 2CD Hyvän sarjan kolmas ja viimeinen osa: Här kommer den tredje och sista volymen i serien Svenska Rockminnen från 50 & 60-talet. På cd 1 har vi samlat 50-tals låtar från 1957 till 1959 och cd 2 innehåller 60-talare från 1960 till 1964. |
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2009 | CD | 22.00 € |
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| Ventures - Anthology |
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2009 | CD | 15.00 € |
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| Astronauts - Competition Coupe |
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2008 | CD | 28.00 € |
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| Astronauts - Everything Is A-OK ! |
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2008 | CD | 28.00 € |
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| Astronauts - Go...Go !!! The Astronauts very nice japanese pressing |
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2008 | CD | 28.00 € |
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| GOOFIN' RECORDSIN LAHJAKORTTI - HELPPO JA VAIVATON LAHJA ! lahjakortin saat haluamallesi summalle. minimi 10;- maksimi summaa ei ole. Lisätietoja ? Soita 09-7733113 tai meilaa info@goofinrecords.fi Lahjakortti on voimassa vuoden ostopäivästä eteenpäin. |
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Goofin Records 2008 | CD | 30.00 € |
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| Jan & Dean - The Complete Liberty Singles 2CD Every Jan & Dean Single in its original mix ! 2CDs = 42 tracks. All A and B Sides. |
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2008 | CD | 23.00 € |
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| John Buck & The Blazers - Chi Chi 19 biisiä - myös upea versio Letkajenkasta !! |
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Bear Family 2008 | CD | 17.00 € |
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| Johnny Douglas And His Orchestra - Where Did The Night Go two original RCA Camden albums on 1 CD: - In The Still Of The Night (1964) - Where Did The Night Go (1963) |
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2008 | CD | 19.00 € |
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| Outlaws - Back To The West |
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2008 | CD | 17.00 € |
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| Roland Shaw & His Orchestra - James Bond In Action 2CD 37 tracks Mid sixties orchestral versions of themes from James Bond movies. The movies featured are Thunderball, Goldfinger, From Russia With Love and Dr. No. |
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2008 | CD | 17.00 € |
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| Shadows - Platinum |
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2008 | CD | 9.00 € |
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| Texas Troubadours - Almost To Tulsa - The Instrumentals A must-have for fans of hillbilly jazz! - Features some of the hottest picking by the coolest country band in the world, Ernest Tubb’s Texas Troubadours. - Especially selected from the Troubadours 1960s and ‘70s LPs for maximum listenability. - Including unreleased recordings. - Fans of hot guitar and steel guitar instrumentals are probably well aware of the 1960s Texas Troubadours recordings-an amazing sideline to their main career supporting Ernest Tubb on the endless highway. Bear Family now presents for the first time all the Texas Troubadours instrumentals on one collection, tracks that were previously available only on vinyl or within the third and fourth Ernest Tubb box sets! There are several steel guitar instrumentals by the phenomenal Buddy Emmons, and then features an amazing array of musical pyrotechnics from the great team of Leon Rhodes and Buddy Charleton. If you're a fan of Speedy West and Jimmy Bryant, these recordings are the neutronic 1960s version of Speedy and Jimmy's 1940s atomic power |
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Bear Family 2008 | CD | 18.00 € |
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| VA: - Big Top Records Story A top notch blend of hits, classy misses, early Spector productions and some groovy instrumentals, together with a booklet load of pics and captivating story telling make ‘The Big Top Records Story’ an exquisite souvenir of pop’s legendary Brill Building era, one which we soon hope to repeat with a follow-up volume. |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Do-Wah-Diddy words and music by Ellie Greenwich & Jeff Barry |
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2008 | CD | 18.00 € |
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| VA: - Don't Press Your Luck 60s Connecticut sounds. Garage and psych howlers from the vaults of Trod Nossel Studios 1966-1968. |
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2008 | CD | 18.00 € |
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| VA: - Golden Age Of American Rock'n' Roll - The Follow Up Hits Here’s a great way to start the New Year. Ace’s Golden Age of American Rock’n’Roll series has proven to be extremely successful, having featured most of the significant records of the 1954-1963 era across its 11 volumes. Then there’s the sidebar strand of Special Editions covering Doo Wop, Novelty Records, Bubbling Under and Country. Now comes the latest theme, Follow Ups Hits. 30 tracks ! |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Instro Beat - British Instrumentals From the 1960s 28 british instrumentals from the 1960s. Including 4 unreleased titles |
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2008 | CD | 18.00 € |
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| VA: - It Came From The Beach 28 Surf, Drag & Rockin' Instros from Downey Productions |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Strictly Instrumental Vol. 10 |
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Deejay 2008 | CD | 15.00 € |
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| VA: - Surfin Draggin' & Twistin' - 1960's Rock'n' Roll |
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2008 | CD | 13.00 € |
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| VA: - Those British Instrumentals Vol. 4 Rare UK Instrumentals |
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2008 | CD | 17.00 € |
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| VA: - Those British Instrumentals Vol. 5 Rare UK instrumentals |
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2008 | CD | 17.00 € |
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| Ventures - The Best Of The Ventures 25 tracks |
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2008 | CD | 15.00 € |
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| Avalanches - Ski Surfin' 12 tracks |
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2007 | CD | 15.00 € |
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| Dick Dale And His Del-Tones - Checkered Flag recorded 1963 |
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2007 | CD | 17.00 € |
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| Dick Dale And His Del-Tones - King Of The Surf Guitar 14 tracks |
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2007 | CD | 17.00 € |
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| Dick Dale And His Del-Tones - Mr. Eliminator 1964 LP nyt CD:nä |
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2007 | CD | 17.00 € |
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| Duane Eddy - Twenty Terrific Twangies / Water Skiing 2LPs = 1CD = 32 tracks |
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2007 | CD | 12.00 € |
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| Link Wray - King Of The Wild Guitar 25 tracks |
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Ace Records 2007 | CD | 17.00 € |
