Result of your query: 12 products
|VA: - Before The Fall - 24 Prelapsarian Cuts
f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York.
What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others.
It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings.
These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it.
As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes.
By Dan Maier (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - Bo Diddley Is A Songwriter
In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…)
One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager.
Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley.
Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides.
As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday.
If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition!
By Tony Rounce (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - The Best Of Golden Crest 2CD
Ace Records’ link with Golden Crest dates back to 1993. That was when I travelled to picturesque Cold Spring Harbor, Long Island, to discuss a licensing deal specifically for the Wailers’ enduring hit instrumental, ‘Tall Cool One’, which duly appeared on “The Golden Age of American Rock’n’Roll, Vol 6” (CDCHD 650). Label-founder Clark Galehouse had died 10 years earlier, so his daughter Shelley came along with her trusted adviser – none other than the great but notorious Hy Weiss of Old Town Records. I couldn’t believe my “luck” in coming up against one of the sharpest and most conniving minds in the business. Eventually I ended up with two contracts: one for Ace; the other in marriage to Shelley.
Through the years Ace has released the “The Fabulous Wailers” (CDCHD 675, a classic and still a solid seller); “On The Road With Rock’n’Roll” by Mando and the Chili Peppers and “Golden Crest Instrumentals” (now deleted); plus quite a few individual tracks. Other reissue labels have licensed Golden Crest masters, from rock’n’roll, rocking instrumentals, doo wop and teen to classical.
Now, at last, we have this first-ever “The Best Of Golden Crest” collection, which draws on singles aimed primarily at the Top 100 charts in the peak rock’n’roll years from the parent label and its subsidiaries Shelley, DeWitt and Yorkshire. Out of the 48 tracks here, no less than 35 are new to Ace CD with almost half new to CD anywhere.
By virtue of its location in Huntington Station, NY, Golden Crest was well placed to trawl talent from Long Island (including Queens and Brooklyn), also New York and New Jersey. But the label made its mark when ‘Tall Cool One’ by the Wailers, from the Northwest area, hit the Top 50 charts on Billboard and Cash Box in 1959 and then again in 1964. As a result of the Wailers’ success, Galehouse tapped into other Northwest acts Clayton Watson (Lord Dent), the Mad Plaids, the Chessmen and Lola Sugia. A further wellspring of satisfying recordings in an R&B vein (but with no hits) emanated from record lady Lillian Claiborne of Washington, D.C.
So, what new-to-CD tracks are there to savour? From the Claiborne stable, try the three New Orleans R&B-influenced Calvin Ruffins and the spot-on Little Willie John soundalike Johnny Stewart with ‘Come On And Love Me’; the attitudinal ‘Bug Out’ by the Seven Teens and more teen pop from the Three Graces and the Montells; ‘Why Did You Tell Me?’ by anguished R&B’er Cartrell Dickson; the superior soul of ‘Girl’ by the Bluestyle with Carl Vanterpool; singles by jazz masters Coleman Hawkins and Carmen Leggio; the splendid bonus track, ‘New York City Blues’, by Larry Dale & his Houserockers (with Bob Gaddy and Jimmy Spruill), written by UK author/Juke Blues writer Dave Williams; and, of course, the three “new” Wailers cuts from their very first 1958 session.
To round off this double CD, there is a highly attractive booklet detailing the label’s history and featuring its innovative picture 45s and picture sleeves. For all the diversity of music genres released, Golden Crest Records was still part of the marvellous cartel of independent labels that contributed so much to the rock’n’roll era. And it shows in these 48 tall cool ones.
By John Broven (Ace Records website)
|Ace Records 2010||CD||23.00 €
|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.
|Norton Records 2009||CD||17.00 €
|VA: - Mad Mike Monsters Vol. 2 - A Tribute To Mad Mike Metrovich
The story continues in this massive gatefold second volume
|Norton Records 2009||CD||17.00 €
|VA: - You Heard Them Here First - Rock's Icons Before They Were Fa
Everyone has to start somewhere, even famous rock stars. Not many of them achieved stardom with their first record. That’s the theme of “You Heard Them Here First”, a collection of two-dozen cuts by big name acts, all recorded before anyone knew them from Adam.
Take Arthur Lee, wigged-out lynchpin of the band Love, who in his early dues-paying days briefly fronted an obscure instrumental combo. The MGs were a big noise in Memphis, but few folk in Los Angeles got to hear the L.A.G.s. Now’s your chance. Or Marty Balin, who, long before Jefferson Airplane took off, tried his hand at teen idol-dom, seemingly unaware the world already had a Gene Pitney, a Ricky Nelson and a Bobby Vee. Who knew?
Everyone knows the Righteous Brothers, but not many are familiar with Bill Medley’s previous group the Paramours, blue-eyed Coasters clones extraordinaire. Motown kyboshed the Mynah Byrds’ chances of stardom by cancelling the release of their single; no one knew who Neil Young and Rick James were at the time. Young’s later back-up band Crazy Horse recorded in earlier guises too, amongst them the Rockets, while the Beefeaters osmosed into the Byrds, Ry Cooder and Taj Mahal started out in an unknown group named the Rising Sons and Gram Parsons cut his teeth in the International Submarine Band. Bob Dylan knew a good thing when he heard it and he heard it in Levon & the Hawks, who teamed up with him and changed their name to the Band. The Pigeons found few takers until they slowed things down and re-launched themselves as Vanilla Fudge. Hear all these bands here.
Danny Lee, anyone? We know him now as genius songwriter Dan Penn. What about Link Cromwell? Where would Patti Smith be without Lenny Kaye? How does Mark Robinson grab you? Just a quick listen is all it takes to identify the unmistakeable bass voice of Lee Hazlewood. Nilsson’s first chart record dates from 1969, but he’d been scratching around in the music biz for years by then, writing songs for the Ronettes, singing demos for Little Richard and recording singles under pseudonyms like Bo Pete.
Collectors will tell you it’s invariably the records made by well-known artists before they were famous that are the hardest to find and the most expensive to buy. Expect to fork out over £500 for an original copy of ‘Liza Jane’ by Davie Jones with the King Bees, the fabled first single released by the lad who grew up to David Bowie, for example. By purchasing this CD, you save yourself a small fortune and get pre-fame recordings by Lou Reed, Joe Cocker, Cher, Mike Nesmith, Peter Frampton, J.J. Cale, Warren Zevon and P.F. Sloan thrown in for good measure.
BY MICK PATRICK (ACE RECORDS)
|Ace Records 2009||CD||17.00 €
|GOOFIN' RECORDSIN LAHJAKORTTI - HELPPO JA VAIVATON LAHJA !
lahjakortin saat haluamallesi summalle.
minimi 10;- maksimi summaa ei ole.
Lisätietoja ? Soita 09-7733113 tai meilaa firstname.lastname@example.org
Lahjakortti on voimassa vuoden ostopäivästä eteenpäin.
|lahjakortti 2008||CD||30.00 €
|Mad Daddy - Wavy Gravy
Radio Broadcasts 1958-1964
|Norton Records 2003||CD||17.00 €
|Dean Carter - Call Of The Wild
he missing link between wild rockabilly abandon and snarling garage punk
Dean Carter was/is the ultimate rock'n'roll anomaly. Just check out the photo on the cover of CALL OF THE WILD!, one of the craziest collections your humble compiler has had the pleasure to assemble in recent memory. Presley-like stance, guitar by his side, with a swept-back do and zebra-striped jacket to die for. The ultimate in rockin' cool. Must be late 1950s, right? Uh-uh. How does 1968 grab ya?
Carter was a wildman, coughing up some of the most insane rock'n'roll platters known to man and beast, records that are all the more remarkable for their improbable recording dates. There's a time-warp sensibility to the sound of Dean Carter that is truly intriguing. He'd been singing rock in his native Champaign, Illinois since the late 1950s - indeed, there are even a couple of his rebel-raw 1959 demos included here - yet Carter retained his trademark rockabilly hiccup whether he combined it with a stomping garage beat (Sizzlin' Hot) or a rough hewn soul shout (Love's A-Workin').
Dean Carter really wanted to be a star and it's obvious from the sounds contained onCALL OF THE WILD! that he really had the goods to have become one. With an uncanny ability to swing from a high falsetto to a moody growl, the singer could switch from crooning a dramatic ballad to belting out a sizzling rocker. He just did things he wanted to do, in the way he felt right. With his sidekick Arlie Miller behind the studio controls, the amazing recordings here span a full decade (1959-69), yet they sound as though they all could have all been taped at the same session, such is the relentless rocking drive common to each and every performance.
The apex of Dean Carter has to be upon the truly berserk treatment of Jailhouse Rock that was issued as a single on Carter and Miller's tiny Milky Way label in 1967 (and has been widely bootlegged in subsequent years). The record itself defies description - suffice to say, it sounds as though a riot really is taking place - yet incredibly the research for the notes threw up the fact that buried amongst the sonic chaos is not only an accordion and a frantically-scrubbed dobro, but also a clarinet played by a 12-year old girl!! Joe Meek could not have devised a more unusual session. Many other tracks are only slightly less crazed, such as I Got A Girl, Black Boots and the stomping Mary Sue, the latter cut as a single in Washington in 1968 with the aid of one-time Gene Vincent sidekick Jerry Merritt.
I could blather on about the genius of Dean Carter for a whole RT, but instead I urge you all, if you say you like rock'n'roll, to buy this CD, ogle the eye-bending pix, read the bizarre story and revel in the unselfconsciously manic sounds it contains. This guy is an unsung hero of unprecendented proportions. All hail Dean Carter!
By Alec Palao (Ace Records)
|Ace Records 2002||CD||17.00 €
|VA: - Riot City!
31 tracks 1960-1965
|Ace Records 2001||CD||18.00 €
|VA: - Mondo Movie Music
||Ace Records 1990||CD||17.00 €
|VA: - Big Deal !
This album kinda pays like a tribute in reverse. All the tracks have been covered (or reworked) by "THE 5,6,7,8's!" .
The Rockin' Geishas chose these songs (even to blend and bend out of shape) means the originals are obviously amongst the great rock and roll tracks.
|Mademoiselle Records||CD||18.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE