Result of your query: 17 products
|Allen Toussaint - Everything I Do Gonh Be Funky 2CD
The Hit songs & productions 1957-1978
|Charly Records 2011||2-CD||17.00 €
|Alvin Cash - Windy City Workout - The Essential Dance Craze Hits 2CD
Chicago soul music is one of the many regional variations that proved nationally popular during the 1960s and this unique collection celebrates one of the city’s many stars Alvin Cash. An often overlooked sub-genre is the almost never-ending stream of dance craze records which caught the national imagination, and Alvin Cash was among the leading exponents.
Windy City Workout is the first ever legitimate CD release devoted entirely to Cash’s recordings. Disc 1 opens with his sole album release Twine Time, named after his biggest hit, and continues into Disc 2 with all of his single releases in chronological order. This deluxe memorabilia-laden package features notes from the eminent Chicago blues and soul expert Robert Pruter, and the track listing denotes all the chart placings he secured on America’s pop and R&B charts.
Cash’s recordings for Mar-V-Lus, Toddlin’ Town, Seventy-Seven and Sound Stage Seven are all included. Also featured are three tracks which only ever appeared on the now ultra-rare Toddlin’ Town LP, Wilson Pickett’s ‘Funky Broadway’ and two Arthur Conley hits, ‘Funky Street’ and ‘People Sure Act Funny’. Dances with instructions include The Twine, The Boo Ga Loo, The Bump, The Barracuda, The Boston Monkey, The Penguin, The Freeze, The Charge, The Popcorn and, second only to The Twine, The Ali Shuffle, a dance which Alvin dedicated to Mohammed Ali.
Alvin Cash passed away in 1999 but his music still resonates on today’s soul scene, as a quick visit to YouTube will attest. This carefully compiled 2CD set is the first comprehensive retrospective of his work and is testimony to the power of dance music; get up and get down is all you can really do to this collection.
|Charly Records 2012||2-CD||18.00 €
|Dionne Warwick - Original Album Series 5CD
||Rhino Records 2009||2-CD||22.00 €
|Huey Piano Smith - It Do Me Good 2CD
The Banashak & Sansu Sessions 1966-1978.
When it comes to good time rollicking rock’n’roll or rhythm’n’blues, there are few exponents to match Huey ‘Piano’ Smith. One of the greatest of New Orleans’ many pianists, Smith began his career with blues men like Guitar Slim and Earl King and enjoyed a string of classic hits in the late 1950s. During that time he wrote and recorded three of rock and roll’s most enduring classics, ‘Rockin’ Pneumonia And The Boogie Woogie Flu’, ‘High Blood Pressure’ and ‘Sea Cruise’, the latter featuring the vocals of Frankie Ford. His career continued well into the 1970s.
This deluxe package is an upgraded version of a Charly CD released in the late 1980s, Pitta Pattin’. This collection - featuring the recordings he made for the Instant label in the late 1960s - has now been expanded to include several tracks not featured on the original including the ultra rare ‘Two Way Pock-A-Way’, ‘Epitaph To A Black Man’ and ‘The Whatcha Call ‘Em’ plus several newly discovered, previously unissued recordings. His powerful piano can be heard to good effect on the previously unissued, ‘I’m Boss Pt 2’ with its almost Northern Soul sound.
Many of Smith’s early Instant 45s were big local hits in New Orleans and Louisiana without ever denting any national charts and have long been sought after by collectors, with some, like ‘Two Way Pock-A-Way’, proving almost impossible to find today. Also featured are versions of ‘Rockin’ Pneumonia’, ‘High Blood Pressure’ and ‘Don’t You Just Know It’ recorded for an Atlantic LP that was never released. By way of a bonus, Huey’s last known recordings made for Allen Toussaint’s Sansu company in 1978 make their CD debut here, more than thirty years after their first release on Charly vinyl.
These are the last recordings of Huey Smith who retired from music to concentrate on his religious beliefs in the early 80s. He now lives in retirement in Baton Rouge but still happily acknowledges his huge contribution to New Orleans R&B and to rock’n’roll in general.
|Charly Records 2012||2-CD||18.00 €
|Jackie Wilson - 7 Classic Albums Plus Bonus Singles 4CD
||Real Gone Music||2-CD||9.00 €
|Jerry Butler - Singles 2CD
With a career spanning more than four decades, singer/songwriter Jerry Butler rightly deserves his place in the pantheon of Chicago greats. Blessed with one of Soul music's most distinguished voices, The Iceman has earned the admiration of peers and fans alike thanks to his smooth delivery and suave demeanour. For the first time on one deluxe 2CD set, this hit-laden 56-track package gathers together all of Butler's Vee-Jay solo singles and reveals not only a consummate artist, but one with a superb instinct for spotting and nurturing great songwriting talent.
Born in Sunflower, MS, Butler relocated to Chicago as a child and began singing in church alongside friend and future collaborator Curtis Mayfield. As teenagers the pair joined brothers Arthur and Richard Brooks and their friend Sam Gooden to form The Roosters vocal group. Changing their name to The Impressions they registered their first hit in 1958 with Butler's self-penned 'For Your Precious Love' on the Vee-Jay affiliate Abner, and shortly thereafter Butler left to pursue a solo career.
Butler's career flourished at Vee-Jay during the early 1960s where he enjoyed ten US R&B Top 30 chart placings (including the No.1 'He Will Break Your Heart') and sixteen US Hot 100 hits, among them stunning duets with labelmate Betty Everett ('Let It Be Me', 'Smile') - all of which are included here. Adept at both ballads and up tempo numbers, Butler was the first to record 'Moon River' and had the pick of material by then up-and-coming writers such as Mayfield, Randy Newman and Van McCoy.
Complete with a fully annotated, richly illustrated booklet, The Singles comprises all of Jerry Butler's commercially released Vee-Jay 45rpms 1959-66 A and B-sides, plus bonus tracks on which he duets with Betty Everett.
|Charly 2012||2-CD||15.00 €
|Otis Redding - Otis Blue / Otis Redding Sings Soul 2CD
2CD = 40 tracks Collector's Edition
|Rhino Records 2008||2-CD||28.00 €
|Ray Charles - The Solid Gold Collection 2CD
35 classic tracks from a soul legend
|Union Square Music 2005||2-CD||12.00 €
|Sam Cooke - Night Beat / One Night Stand -Live At The Harlem Square 2CD
two classic albums
|RCA Records 2011||2-CD||20.00 €
|Supremes - At The Copa 2CD
In July 1965, the Supremes, one of Motown Records’ top groups, made history when they performed for three weeks at New York’s famed Copacabana nightclub; At The Copa, the recording of this landmark event – a “teen pop” group appearing at the mountaintop of showbiz success – was released by the company four months later. Now, for the first time, Motown/Select.com issues the complete concert in a stunning 2-CD Expanded Edition.
Disc One of At The Copa: Expanded Edition contains the digitally remastered original stereo album – an album that, owing to then-insurmountable technical problems, used lead vocals overdubbed by Diana Ross in the studio. Also on Disc One are 10 specially selected, previously unreleased original mono reference mixes, with Ms. Ross’s original live vocals. Listeners will be able to hear the magic of both versions.
Disc Two features the full Copa show, as only the audience would have experienced it in 1965, in a brand-new mix that compiles the best performances from six recorded shows. Today’s technology allowed the producers to overcome issues that vexed their 1960s counterparts, resulting not only in the use of the original lead vocals but the inclusion of songs cut from the original release: the opening number “From This Moment On,” their hits “Where Did Our Love Go” and “Nothing But Heartaches,” and classic show tunes including “Tonight/The Way You Look Tonight,” and “Enjoy Yourself (It’s Later Than You Think).”
The music for At The Copa: Expanded Edition is housed in a gorgeous digi-pak that contains a booklet featuring never-before-seen photos of the girls performing on stage; the original LP liner notes by Sammy Davis, Jr.; an all-new essay by producer George Solomon detailing how a young Motown Records and their rising group got the Copa dates, encompassing the story of the girls’ crossover appeal and the intense planning that went into a monumental moment in pop music and American cultural history.
Disc 1, Tracks 1-15: Original Stereo LP
Disc 1, Tracks 16-25: Alternate Mono Mixes/Previously Unreleased
Disc 2: The Complete Show/Previously Unreleased
*Sam Cooke Medley: You Send Me / (I Love You) For Sentimental Reasons / Cupid / Chain Gang / Bring It On Home To Me / Shake
|Hip-O-Select 2012||2-CD||18.00 €
|VA: - Delta Swamp Rock Vol. 2
More sounds from the south 1968 - 75:. At the crossroads of rock, country and soul.
New on Soul Jazz Records, the second volume of Delta Swamp Rock continues to journey into the heartland of the American south, exploring the musical links between country, rock and soul music in the 1960s and early 1970s.
Southern rock rose up in the 1970s on the huge commercial success of southern-based groups The Allman Brothers, Marshall Tucker, Lynyrd Skynyrd and others. Like the twisted roots of rock and roll, southern rock put country, rock and black music into a melting pot to create a unique sound. This gave rise to a new identity for white southern working-class youth.
The roots of this revolution were to be found in an obscure corner of Alabama, in the sleepy town of Muscle Shoals, where, in the previous decade, a group of white in-house studio musicians together with the greatest rhythm and blues vocalists of the day - Aretha Franklin, Wilson Pickett, Etta James and many others - away from the segregated environment found just outside the studio walls.
Delta Swamp Rock 2 contains extensive sleeve-notes in an accompanying deluxe large outsize book housed in double-backed card case, which also includes stunning photographs and new interviews with a number of the featured artists (including Tony Joe White) .
As well as the deluxe slipcase CD edition there is also a similarly deluxe limited edition heavyweight double gatefold vinyl edition complete with full sleeve-notes and super-loud pressing.
|Soul Jazz Records||2-CD||23.00 €
|VA: - Dial Records - Southern Soul Story 2CD
51 biisiä Dial -merkin Soul / R&B
|Ace Records 2003||2-CD||23.00 €
|VA: - Just For A Day - The Apollo Records Story 3CD
Apollo Records came from humble beginnings but, through the hard work and dedication of its founders, it became an influential record label in America during the Forties and Fifties. New York-based Apollo went toe-to-toe with larger labels in the era to break artists across numerous genres, most notably doo-wop, gospel and blues, in its near-two decade existence.
Born in the Rainbow Record Shop in downtown Harlem, near the theatre whose name it would share, Apollo Records was founded by husband-and-wife duo Isaac and Bess Berman, along with colleagues Hy Siegel and Sam Schneider. It was Bess who drove the label from the off, taking responsibility for the day-to-day running of Apollo despite Siegel’s initial role of President.
The label’s location amid arguably the country’s most vibrant music scene meant it unearthed gems from the off – and none was more precious than Dinah Washington. The woman who would become known as ‘Queen of the Juke Boxes’ cut a number of tracks for Apollo during its earliest years.
Among the numbers recorded by the 21-year old were ‘Mellow Mama Blues’ (disc one), ‘My Voot Is Really Vout’ (disc three) and ‘Pacific Coast Blues’ (disc two). Even on her maiden studio outing, the young Washington displayed a talent and a soulfulness that belied her age. She would soon be snapped up by the larger Mercury Records and became one of the most influential artists of her time.
Another future superstar to cut their teeth for Apollo was Wynonie Harris, an R&B powerhouse and founding figure of rock ‘n’ roll. Having travelled the United States in a bid to establish himself, Harris turned up at – of all places – the Apollo Theatre in Harlem in the mid Forties. Among the tracks Harris recorded for the label were ‘I Gotta Lyin' Woman’, ‘Young And Wild’ and ‘She's Gone With The Wind’; all three can be found on this collection. The musicians’ strike of 1942-44 postponed Harris’ success, and he went on to enjoy a string of R&B chart-topping hits on both the Decca and King labels.
Artists had to make their name through live performance and public appearances if they wanted to get noticed. Such was the tactic of 35-year old Mahalia Jackson, who arrived at Apollo in 1946.
Jackson wasted no time in justifying the lofty moniker of ‘Queen of Gospel’, bestowed upon her as she played the circuit. In 1948 she recorded and released ‘Move On Up A Little Higher’, which sold eight million. Apollo struggled to meet demand and Bess Berman soon deposed Siegel as head of the label. Jackson would stay at Apollo for nearly a decade, recording tracks such as ‘She Said It Would’ (disc three) and ‘Nobody Knows The Trouble I’ve Seen’ (disc one) before departing for Columbia in 1954 and going on to win four Grammy awards.
But it wasn’t just solo stars that made it on Apollo. Bess Berman showed she was adept at spotting collective talent when she renamed gospel vocal group the Selah Jubilee Singers the Larks in 1950. They went on to bag a number of Top 10 R&B hits, including ‘Little Side Car’ (disc three) in ’51. Buoyed by this success, Berman took another gospel group, the Royal Sons Quintet, and rechristened them the Five Royales. They would enjoy even greater success, most notably with ‘Dedicated To The One I Love’, a track that would go on to hit for both the Shirelles and the Mamas and the Papas in the Sixties.
While the name of the game was commercial success, characters like ‘Champion’ Jack Dupree gave Apollo a large helping of credibility. A gritty and authentic musician who loved his trade, the veteran New Orleans-born singer-pianist was renowned for his witty lyricism and gritty tone. He cut about a dozen country-blues tracks for Apollo, including ‘Deacon’s Party’, ‘Old Woman Blues’ (both disc one) and ‘Come Back Baby’ (disc three), but would achieve greater success on Atlantic.
With a mixture of cult, critical and commercial success, Apollo maintained a respectable output across the Forties and Fifties. But the early Sixties were blighted by Bess’ ill health and copyright lawsuits pertaining to Apollo’s crediting of Mahalia Jackson recordings. It was ultimately, however, the departure of artists like Jackson, the Five Royales and Wynonie Harris to other labels that proved too much for Apollo, which shut its doors in 1962.
But Bess Berman could look back on her work in that period and be proud, not least of the achievement of becoming the first woman to head a record label in a male-dominated era. More than that, this three-disc selection, with its assortment of artists and musical genres, illustrates the strength of the label’s catalogue in all its glory.
|One Day Music 2014||2-CD||9.00 €
|VA: - Midnight Special - The Oriole Records Story 2CD
Oriole Records was the first British record label. It was founded in 1925 by the Levy family, who built up their business from an east London record shop, and had its own distribution system, recording studio and pressing facilities. It enjoyed a fruitful first decade of operation but lay dormant until 1950, when Morris Levy revived it. It started its rebirth by licensing from the American Mercury Records label, before turning to British acts.
Early hitmakers included the Chas McDevitt Skiffle Group with the Number 5 ‘Freight Train’, featuring Nancy Whiskey on vocals, and Liverpool-born former Butlins Redcoat Russ Hamilton’s ‘We Will Make Love’, which reached Number 2 in the UK singles chart in 1957. Oriole also produced cover versions of chart hits, released on the budget Embassy Records label through Woolworths stores.
The stakes rose considerably when John Schroeder joined in December 1961. His brief was to develop Oriole, the only independent record company at the time, into a rival for major labels like EMI, whence he had come after carving a reputation as Cliff Richard producer Norrie Paramor’s songwriting sidekick. It was, he admitted, ‘Quite a daunting proposition.’
His first hits came with singer Clinton Ford, who mixed country with comedy, followed by Maureen Evans. Her ‘Like I Do’ made Number 3, sold a quarter of a million records and inspired Paramor to send Schroeder a personal note saying: Congratulations on “Like I Do”. Please leave some space in the charts for me!’
The Spotniks, an instrumental group from Sweden, introduced themselves to Oriole when their manager heard the label’s sponsored show on Radio Luxembourg. They made the Top 30 with ‘Orange Blossom Special’, promoted by an appearance in space suits on BBC-TV’s Top Of The Pops (this was in the era of the space race between America and the Soviet Union). They would follow up with an equally unlikely cover, ‘Hava Nagila’; this did even better, but the gimmick inevitably faded.
Other signings of note included Susan Singer (Helen Shapiro’s cousin) and the Dowlands, a duo produced by maverick Joe Meek in an independent deal. Jackie Trent was another discovery, a talented singer-songwriter who would eventually team personally and professionally with Tony Hatch.
Among the people who approached Oriole but didn’t make it were Jonathan King, a chart-topper a few short years later with “Everyone’s Gone To The Moon’, and Galt McDermott, Canadian composer of the hit Sixties musical Hair.
Oriole and Schroeder’s place in the history books was assured when they became the first record label to bring Motown to Britain. Schroeder took label boss Berry Gordy and vice president Barney Ales to dinner at the Talk of the Town nightclub to seal the deal. He had something in common with Gordy in that they were both successful songwriters, Schroeder having penned Helen Shapiro’s first hits.
‘I knew we had a mammoth task ahead of us,’ Schroeder later explained, ‘but I also knew the sheer talent featured on this label could not help but eventually register. It was only a matter of time.’ Oriole released nineteen Motown discs in total on their black and white Oriole American label, but were stymied by the lack of domestic airplay for the music.
Schroeder had the courage to begin the operation with three singles released simultaneously in September 1962 – Mary Wells’ ‘You Beat Me To The Punch’, The Contours’ ‘Do You Love Me’ and the Marvelettes’ ‘Beechwood 4-5789’, all featured here. For two years he and his team worked on Motown’s music. But no sooner had they tasted real success with Stevie Wonder’s ‘Fingertips Part 2’, than the licensing contract expired and Motown moved on to EMI Records.
John Schroeder’s next move, in July 1963, was to thrust Oriole into the thick of domestic pop by taking a mobile recording unit to Liverpool and recording two albums of local talent entitled ‘This Is Mersey Beat Vol 1 and 2’. Many bands got their first break this way, but while Schroeder met both John Lennon and Beatles manager Brian Epstein he was inevitably beaten to the biggest names by his wealthier rivals.
Oriole ceased to exist in 1964 when American recording giant Columbia bought the company and renamed it CBS Records. The attraction was Oriole’s record pressing factory in Aston Clinton Buckinghamshire. John Schroeder had, by then, moved on to Pye Records where he would produce Status Quo and Man, among many others. He has written about his Oriole years in a book, Sex & Violins (Pen Press), which is much recommended.
Oriole worked hard to compete with the ‘big boys’, but ultimately the stakes were too high for a family firm. The music they brought to the market was, however, fascinating, and still has the capacity to entertain half a century later.
|One Day Music 2013||2-CD||8.00 €
|VA: - Swampbilly Shindig 2CD
Swampabilly Shindig leaps deep into the bayous and plantations of the Deep South. Here, although racial segregation remained law, black and white music mixed with country and rockabilly taking beautiful shape as the hillbilly cats learnt from their blues playing and gospel singing neighbours. Gathered here are 50 tunes with Southern roots from artists as legendary (and as different) as The Staple Singers, Elmore James and Jerry Lee Lewis.
|Union Square Music 2013||2-CD||10.00 €
|VA: - The Fame Studios Story 3CD
The acronym is F-A-M-E, but it may as well be S-O-U-L.
It was a full half-century ago that the recording studio, record label and publishing operation originally known as Florence Alabama Music Enterprises established itself and its trademark sound with the hit recording of ‘You Better Move On’ by Arthur Alexander. In the fifty years since, FAME Studios and its idiosyncratic founder Rick Hall have been at the forefront of the Muscle Shoals Sound. FAME begat the process whereby a little known Alabama backwater would evolve into the very crucible of southern soul, a holy place to where musicians, singers and fans still make a very specific pilgrimage in the hope of experiencing a little bit of the magic behind so many hit records: ‘I’m Your Puppet’, ‘Land Of 1,000 Dances’, ‘Tell Mama’ and countless others.
Rick Hall is now a grand old man of the music business, but back in the 60s he was more akin to an enfant terrible, with an unbending will that helped him make it against almost insurmountable odds, matched by an attention to detail that bordered on obsession. There have only ever been a handful of truly self-sufficient producer/engineers in the history of popular music, and Hall is pre-eminent amongst them. Atlantic, Chess and so many other legendary labels flocked to FAME to avail themselves of the sound, the players, the material, and most importantly the vibe that Rick Hall had created.
The FAME Studios Story 1961-1973 is an exhaustive three CD set derived from two years’ worth of excavations by the intrepid Ace team at the hallowed FAME vault. The result is a full programme of FAME-related releases slated for issue on Ace, Kent, and BGP over the next couple of years, but the lynchpin is this definitive anthology that focuses upon the halcyon days of the studio and the label. It’s an open-minded, celebratory overview that, across 75 tracks, spotlights both artists and records that are either acknowledged greats, or lesser known – yet no less worthy – entries in the lexicon of soul.
The line-up is a virtual Who’s Who of 60s soul, and includes Otis Redding, Aretha Franklin, Wilson Pickett, Etta James, Arthur Conley, Irma Thomas, Joe Tex, Joe Simon, Lou Rawls, Spencer Wiggins and Otis Clay. Deep soul fans will recognise names such as The Blues Busters, Billy Young, Maurice & Mac, Willie Hightower, Bettye Swann, James Govan and many, many others. Special attention is paid to those acts closely associated with the Fame label - Candi Staton, Jimmy Hughes and Clarence Carter - as well as its inestimable stable of writers, producers and players, including Dan Penn, Spooner Oldham, George Jackson and the Fame Gang. And the programme also includes several of the notable pop hits recorded at the studio by the Osmonds, Tommy Roe and Bobbie Gentry, as well as more obscure recordings by the Del Rays, Mark V and Terry & The Chain Reaction.
With unprecedented access granted to its tape and photo archive, well over a third of the contents of The FAME Studio Story 1961-1973 are new to CD, and of those, over a dozen tracks are fully unissued – including previously unheard rarities by Otis Redding and Arthur Alexander. The heavily-illustrated package with an 84 page book comes laden with two informative essays and extensive track notes, all of which are based upon fresh interviews with many of the principals involved.
If you know anything about soul music, you know FAME, which is why The FAME Studio Story 1961-1973 is an essential purchase.
By Alec Palao (Ace Records)
|Ace Records 2011||2-CD||40.00 €
|Wilson Pickett - Original Album Series 5CD
|Rhino Records 2010||2-CD||25.00 €
GOOFIN' RECORDS 30th Anniversary Party
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE