| Ernie K. Doe - Here Come The Girls - A History 1960-1970 2CD |
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Charly 2011 | CD | 17.00 € |
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| Etta James - Call My Name Slowly but surely over recent years we’ve built a small but perfectly formed catalogue of female soul drawn from the roster of Chess Records of Chicago. We started the ball rolling with “Where The Girls Are, Vol 2: Chess Female Singers & Groups” (CDCHD 745), “Shades Of Mitty Collier” (CDKEND 301) and Sugar Pie DeSanto’s “Go Go Power” (CDKEND 317), before turning our attention earlier this year to the one and only Etta James, the company’s biggest female star. One of the greatest ever singers of soul and R&B, male or female, Etta spent her glory years at brothers Leonard and Phil Chess’ label, releasing 13 marvellous albums between 1960 and 1975. Believe it or not, fewer than half of those long-players have ever been reissued in their entirety. There are many CDs of Etta’s wonderful Chess recordings available, but most of them feature the same familiar hits. We took our first steps to remedy that situation in February with “Who’s Blue?” (CDKEND 346), a collection comprising mainly new-to-CD album tracks and B-sides, and are now delighted to announce this first-time reissue of 1967’s “Call My Name”, a superb yet overlooked set which contained some of her most impassioned recordings to date. Whereas Etta’s previous LPs had been pieced together from various sessions, “Call My Name” was conceived as a whole. Recorded in late 1966, the album was co-produced by veteran A&R man Ralph Bass, an acquaintance of Etta’s since the mid-50s, and Monk Higgins, a prime mover in the early days of Chicago’s One-Der-Ful group of labels. All but three of the songs were penned by Higgins and/or his frequent collaborator Maurice Dollison, aka singer-guitarist Cash McCall. Of the LP’s 12 tracks, ‘Happiness’, ‘That’s All I Want From You’ (a song popularised in the 1950s by Etta’s idol Dinah Washington), ‘Have Faith In Me’, ‘You Are My Sunshine’, ‘Nobody Loves Me’, ‘It’s All Right’ and ‘Nobody Like You’ make their CD debut here. It might not have sold too well at the time, and it spawned no big hit singles, but if you prefer your Chicago soul punchy and emotional, of all Etta’s albums, “Call My Name” is the one for you. Our reissue of the LP comes with 12 bonus titles. The Chess brothers had noticed the winds of change blowing up from the South and began sending their artists down to Rick Hall’s FAME Studio in Alabama in hope of igniting their careers. It certainly did the trick for Etta. The astounding “Tell Mama” album she cut there restored her to her rightful status, the title cut providing her with a career high chartwise in 1967. It is from her three subsequent trips to FAME that the first eight of this collection’s 12 bonus tracks are drawn. Leonard Chess’ son Marshall was appointed producer of Etta’s next sessions, which took place at Sam Phillips’ studio in Memphis in 1969. Etta was in bad shape at the time and completed only ‘Slow And Easy’, ‘The Soul Of A Man’ and a striking treatment of the Doors’ ‘Light My Fire’ before the plug was pulled. Among the abandoned cuts was ‘Miss Pitiful’, a gender-switched version of the Otis Redding number, which Etta re-cut more successfully with Gene Barge in the producer’s chair back in Chicago a few weeks later. The track concludes this collection. By Mick Patrick (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Etta James - Losers Weepers One of the best ideas that anyone at Ace has come up with in 2011 occurred when my colleague Mick Patrick proposed a series of expanded versions of several of Etta James’ Argo, Cadet and Chess albums that has hitherto eluded digitisation. It’s quite astounding how many of the albums that Etta released during her 15 years as the Chess group’s flagship female singer have not been issued on CD, especially given that the format’s now been with us for almost 30 years. But thanks to Mick and Kent, the number is gradually decreasing, with two “expanded editions” so far this year and the promise of more in 2012. Etta’s 1970 album “Losers Weepers” is the latest to receive the treatment – and the wait has been well worth it. Recordings from this period of Etta’s five decade-long recording career have been somewhat neglected by the reissue market – but no more. This expansion of “Losers Weepers” really brings a full-on focus to some great music that more or less fell by the wayside when originally released, partly because of Etta’s personal circumstances at the time but mostly because she was regarded by many as having had her day as an R&B chart force. Etta was in pretty bad shape when she made these recordings, but her rampant narcotic dependence did not stop her making the terrific music that you hear here. ‘Heavy Soul’ was a phrase that you heard frequently in the late 60s/early 70s and the intensity in the two-part title track completely defines the term. Etta’s sublime versions of ‘I Got It Bad (And That Ain’t Good)’, ‘The Man I Love’ and ‘For All We Know’ are the logical continuation of her immortal collaborations with arranger Riley Hampton, at the other end of the 60s, which produced the timeless “At Last” album. Elsewhere Etta makes a relatively obscure Bee Gees song ‘Sound Of Love’ sound like it was written by three bruthas from Birmingham, Alabama rather than three brothers from Manchester, England. Her vocal on her revival of the Falcons’ R&B classic ‘I Found A Love’ is almost as riveting as that of the song’s original singer, Wilson Pickett. A revival of one of Etta’s old Modern recordings ‘W.O.M.A.N’ almost matches the original take for sass and sexiness. Etta’s take on the Association’s pretty 1966 near-chart topper ‘Never My love’ will leave you wishing Ms James had spent lots of time working in Philly with Bobby Martin, rather than cutting just the one session… …And these are just bonus tracks folks! No matter how well you might think you know Etta James, this set of songs will increase and enrich your knowledge of the lady’s work no end. It’s a tragedy that Etta is not likely to ever again be able to grace a recording studio, but fortunately her catalogue is full of delights like “Losers Weepers” that will keep her name alive for many years to come. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Etta James - Queen Of Soul That Etta James stands as one of the greatest female singers of the post-World War 2 era is unarguable, yet she only ever enjoyed one UK hit record and did not trouble the US singles charts after 1978. This meant the accolades that followed her recent death dealt with something more than a string of hits or showbiz earning power. Instead, commentators talked of her in terms of her artistry, the majesty of her voice and the visceral emotions she conjured up no matter what she sang. When I was asked to write the notes for this reissue of her “Queen Of Soul” album, I was more than thrilled. Here was an LP I had never owned and it came with 13 bonus tracks, many of which I’d not heard. Talk about work being a pleasure. I’ve always listened to a lot of Etta James, but concentrating on a favourite artist’s life story encourages intensive listening. I played the hell out of all the records I could get my hands on, yet I kept returning to her classic Chess sides where she found her many voices and how to employ them across material that ranged from big band standards to the greasiest soul. I’ve never been able to track down all of Etta’s albums, so I was grateful for Ace’s recent “Who’s Blue?”, “Losers Weepers” and “Call My Name” releases. Across these magnificent discs one gets a sense of just how versatile a vocalist she was, and just how much fabulous material got left as B-sides or album tracks or even went unissued. Chess must have had much to be confident about with “Queen Of Soul” – its very title implying that the company’s bestselling artist brooked no pretenders. Released in November 1964, its cover portrait suggests an emotional engagement that looks painful. Etta is in fine voice throughout and the album’s tracks – which stem from sessions recorded between late 1962 and late 1964 – represent extremely compelling soul music. Opening tune ‘Bobby Is His Name’ is gorgeous, while her take on Irma Thomas’ ‘I Wish Someone Would Care’ fits her perfectly. Yet “Queen Of Soul” failed to ignite upon release and appears largely forgotten today. Strange for an album that offers up such a potent claim to be the new ruler of the hippest black music form taking shape across the USA, and strange that one packed with so much good music has been overlooked for so long. Her next album, 1967’s “Call My Name”, also passed unnoticed. By then an old friend of hers – whose career on Columbia had seen her underachieve while Etta reigned – had signed to Atlantic and cut a startling 45 in Muscle Shoals. From then on Aretha Franklin would be acknowledged as the Queen Of Soul and Etta would forever trail in her wake, but she would be back time and again to record great material and wow listeners. But, for now, we have her album “Queen Of Soul” from the time when she was, undoubtedly, the monarch. By Garth Cartwright (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| Exciters - Soul Motion - Complete Bang, Shout & RCA Recordings 1966-69 Some of the most distinctive female voices of the 1960s were captured on tape in New York studios: Arlene Smith of the Chantels, Dionne Warwick, Cissy Houston, Ronnie Spector – you know instantly when you're hearing these women. Add to that list Brenda Reid, whose great soul shout fronted the Exciters. To be a singer was the girlhood dream of Lillian Walker. In her teens she started several groups with her friend Sylvia Wilbur, but the other girls involved just didn't last the course. Then Brenda came along. With the addition of Carol Johnson and Herb Rooney the group was complete. After a 45 as the Masterettes in early 1962, Sylvia left and the group came to the attention of Leiber & Stoller, who renamed the group the Exciters. Their first single – the Bert Berns-written ‘Tell Him’, released on United Artists – became a huge hit, but their follow-ups didn't achieve the same success, not even their fabulous original version of ‘Do-Wah-Diddy’. Their Exciters great live reputation led to them touring with the Beatles. There are wonderful stories of that period from Brenda and Lillian in Dennis Garvey’s superlative notes, along with recollections of a “potty mouthed” Little Richard in Times Square and Brenda's later visits to the UK, where she played the legendary Northern soul venue the Wigan Casino. Signing with Roulette Records in 1964, the group again failed to hit despite being reunited with Bert Berns. They were then signed directly by him, which is where this collection begins, with the eight fabulous sides they recorded for his Bang and Shout labels – including ‘You Better Come Home’, ‘Weddings Make Me Cry’, ‘Number One’ and (in un-faded form) ‘Soul Motion’ – all beloved by both girl group and soul fans and all making their CD debut here. In fact only two of the tracks on this collection have ever been issued on CD before. Bert Berns’ sudden death in 1967 affected the Exciters as it did many of his musical beneficiaries, but they hooked up with producer Larry Banks at RCA the next year. The sides they recorded there are all also here, including the entire “Caviar & Chitlins” album, which has long been held in high regard by soul fans, containing as it does the huge northern soul anthem ‘Blowing Up My Mind’ and the lesser-known and equally great dancer ‘Movin’ Too Slow’. Post-RCA, the Exciters released one more LP and a 45, following which Lillian and Carol retired. Brenda and Herb kept the group name alive for a handful of singles and a further album. The Exciters are one of the defining groups of the 60s. Their career spanned the Brill Building girl group era through the soul sounds of the late 60s to 70s disco, Brenda's voice transcending it all. (Her son Cory is better known as the successful producer and music biz executive Mark C. Rooney. I suspect he's as proud of her as she is of him.) This CD shows just how talented they were. Treat yourself to some exciting soul motion and get it. By Simon White (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| Fontella Bass - Free 1972 album |
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Paula Records | LP | 15.00 € |
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| Fontella Bass - The Very Best Of 25 biisiä |
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Universal Music 2006 | CD | 12.00 € |
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| Freddie Hughes - Send My Baby Back One of the best performances on Freddie Hughes’ 1968 album “Send My Baby Back” – the first legitimate reissue of which is now available on Kent – is a song entitled ‘Natural Man’. It is Aretha’s classic reworked from a male perspective, but the tune’s title pretty much sums up Hughes’ abilities and his incredible voice. Though he came from a church background that many soul singers share, Freddie’s gift was one hundred per cent his own, an untutored and breathtaking instrument, with a flexibility and range that makes him completely distinctive. When married to the compelling arrangements of producer Lonnie Hewitt, it’s a match made in 1960s soul heaven. Let’s get one thing straight right away. Our Freddie is NOT the same artist that sang ‘Oo Wee Baby’, or recorded for Vee-Jay or Brunswick. With all due respect to that fellow, he couldn’t hope to scale vocal heights such as those represented on this disc. The lingering fondness for Freddie’s best-known number, the charming and completely soulful mid-tempo ballad ‘Send My Baby Back’ means that many believe it to have been a bigger hit than it actually was (#20 on Billboard R&B in July 1968). Freddie’s artistry is clearly on display on every track of this classy longplayer and if I had to choose a favourite song, by a narrow margin it would have to be the Bacharach-ish lilt of ‘He’s No Good’, a guaranteed heartbreaker any way you slice it. Adding bonus tracks to the album’s rather brief running time was easy in theory, not so in practice. Freddie’s background with San Francisco duos: the Impression-istic Soul Brothers with Ken Pleasants, the storming, searing Casanova II with Wylie Trass, was familiar enough, but the rights to certain cuts were in flux. Just a couple of years ago, there was a breakthrough, which came along with the exciting discovery of several unissued songs from the Soul Brothers. These superlative items, derived from Freddie’s first prolonged period in the studio at Music City of Berkeley, include early arrangements of tunes recorded later, as well as the unknown – and fabulous – ‘She’s Coming Back’ and ‘Station L-O-V-E’. All this additional material gives us not just an intimate glimpse of Freddie’s evolution as an artist in the San Francisco Bay Area, but is some damn fine soul music in its own right. by Alec Palao (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Garland Green - The Very Best Of 24 tracks from Chicago's Master Soul Singer's Illustrious career |
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Ace Records 2008 | CD | 17.00 € |
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| George Jackson - Don't Count Me Out - The Fame Recordings Vol. 1 As a songwriter, George Jackson is a Southern soul giant. He is revered by artists and soul fans alike for his prolific output of high quality soul songs and he was at the peak of his powers during his tenure at the FAME studios from 1968 to 1972. Rick Hall, who owned FAME, knew that if a top soul artist was coming into the studio and some songs were needed, then George was the man. He was valued so much as a songwriter that his career as a singer was sadly neglected, and only two George Jackson 45s were issued during his long association with FAME. Luckily for us, Rick Hall held on to a truckload of the other recordings George cut at FAME which have remained in the vaults until Tony Rounce, Dean Rudland and Alec Palao plucked them from the shelves for this terrific release and several future volumes. I love George Jackson’s singing. His voice has a fragile vulnerability and, combined with his honest, no histrionics delivery, you genuinely believe that George lived the ups and downs of love and life that he writes about in these beautifully crafted Southern soul songs. And I’m not alone in appreciating George’s voice, when I asked songstress Dorothy Moore, she smiled and said “I love me some George Jackson”. George also remembers with pride getting complimented by Wilson Pickett on one of Pickett’s trips to FAME. “Wilson said to me ‘It’s from your heart’, [then] he told Rick Hall and Jerry Wexler ‘Y’all should cut a record on this guy, he’s great’.” Some of these tracks were used for pitching the songs to the artists and as ‘guide’ tapes in the studio once chosen. Southern soul fans will recognise ‘I Can’t Leave Your Love Alone’ and ‘The Feeling Is Right’ released by Clarence Carter, ‘Search Your Heart’ and ‘Back In Your Arms’ recorded by the Wicked Pickett and Candi Staton’s funky ‘Evidence’. If you’re as completely obsessed as I am, you can listen to original by George and follow it up with the released version by the some of the best Southern soul artists of the day. A personal favourite from George’s two Fame singles is the churning ‘Find ‘em, Fool ‘em and Forget ‘em’, so it’s a treat to hear George on an earlier, bluesy incarnation of that song here called ‘3-F Blues’. But best of all is the side which Kent have quite rightly used as the lead track of the CD, George’s own rendition of stunning deep ‘Search Your Heart’. To use that old cliché, it’s worth the price of the CD alone. The surprise of the CD is the quality of the songs that were not snapped up at the time. The emotive deep ‘Let’s Stop Hurting Each Other’ and the catchy uptempo ‘Stuck On Her’ are just two “shelved” sides that would have proudly graced any top soul album of the day. These tracks are all high quality studio recordings that could (and should) have been issued at the time. So you could say that this is the delayed release of George Jackson’s debut Fame album, and as such is one of the most important Southern soul CDs of the year. By Martin Goggin (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| George Jackson - Let The Best Man Win - The Fame Recordings Vol. 2 |
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Ace Records 2012 | CD | 18.00 € |
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| George Jackson - Let The Best Man Win - The Fame Recordings Vol. 2 |
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Ace Records 2012 | CD | 18.00 € |
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| George Jackson - The Fame Sessions Ah, the joy of vinyl – especially the new Ace Records high quality releases. The 180 gram test pressing landed on my desk with a thump and, once placed on the deck, the needle was placed on the first groove with a satisfying thrum. So you can only imagine how much better the experience got as the sound of Fame’s classic house band of David Hood, Jimmy Johnson, Barry Beckett and Roger Hawkins emerged from the speakers. They were behind George Jackson as he demonstrated the power of a new song he had written. Any fan of Southern Soul will know that ‘I’m Just A Prisoner’ became a classic for Candi Staton but, as we have proved time and again over the last few years, George Jackson was more than capable of delivering his own songs. Mississippi-born, George had his first break in music working alongside Dan Greer at Goldwax Records in Memphis, writing songs and releasing a single in a duet with Dan. In 1967 he auditioned at Fame Studios in Muscle Shoals, where proprietor Rick Hall was looking to replace his top writer Dan Penn, who had moved to Memphis the previous year. In George, Rick found someone who not only wrote prolifically but could sing as well. As an artist, George released two singles on the Fame label and one more Fame-recorded side on Verve. However, it is quite likely that no-one wanted him to be too successful in that role, because his songs were far too important for Fame’s star artists and others who passed through the studio looking for some Muscle Shoals magic. In short order, he wrote hits for Candi Staton, Wilson Pickett, Clarence Carter and then turned out a #1 for the Osmonds. However, George wrote more songs than he could place with other artists and he also recorded non-stop. Over two CD volumes we have showcased his Fame recordings and we are now proud to present you with his first ever vinyl album from these sessions. In the style of a classic late 60s or early 70s soul album, it features 12 stunning tracks, two of which are (for now) exclusive to this release. It’s difficult to pick out favourites but I have a lot of time for ‘I Bit Off More Than I Can Chew’ (which we’ve discovered was written with James Govan in mind) and ‘Get It When I Want It’, another track written for Candi Staton. Of the new tracks, ‘Add A Little Sunshine’ and ‘That From The Heart’ are more than worthy additions to the George Jackson canon. By Dean Rudland (Ace Records) |
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Ace Records 2013 | LP | 23.00 € |
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| Gigi & The Charmaines - Gigi & The Charmaines 28 tracks from 1960-1967 |
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Ace Records 2006 | CD | 18.00 € |
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| Gino Washington - Love Bandit You dug our first Gino set OUT OF THIS WORLD (Norton 268) — get now LOVE BANDIT! Fifteen 1962-71 GW performances and productions! Dig the rare Correc-Tone recording of Puppet On A String with backup by the Primettes (early Supremes), Singing In The Rain (an original on which Gino claims a young Rob Tyner shares the vocal chores) and the unissued Everything Is Di-jo-be, a surefire hit with the Northern Soul crowd! Includes Nathaniel Mayer - I Don't Want No Bald Headed Woman Telling Me What To Do, loads mo' killers! |
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Norton Records 2002 | LP | 13.00 € |
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| Gino Washington - Love Bandit 15 biisiä |
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Norton Records 2002 | CD | 17.00 € |
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| Gino Washington - Out Of This World Direct from the Norton hopper comes one insane & fabulous soul stomp monster! That of course is the first-evah long play collection on the Out of This World man hisself, Mr. G-I-N-O W-A-S-H-I-N-G-T-O-N!! Get ready to romp with the stirrin' sixties workouts of this Detroit soul legend! Our collection gathers all of Gino's amazing early singles plus unissued masters including killers Out Of This World / Gino Is A Coward / Romeo / Come Monkey With Me / Do The Frog / I'm A Coward and plenty mo'! Fans of Nathaniel Mayer are gonna have their gourds split by the almighty Gino! TRULY OUT OF THIS WORLD! Tonsa notes, photos, interviews! Get it on CD or foot long vinyl LP! Both feature Nortophonic Loud Sound abundance! Dig why soul stompers worldwide gather round the GINO sound! |
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Norton Records 1999 | LP | 13.00 € |
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| Gino Washington - Out Of This World 15 biisiä vuosilta 1962-64 sekä 1967-68 |
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Norton Records 1999 | CD | 17.00 € |
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| Gladys Knight - Beats Of My Heart |
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Charly Records 2004 | CD | 9.00 € |
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| Gladys Knight & The Pips - The Very Best Of |
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Sony Music 2009 | CD | 15.00 € |
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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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lahjakortti 2008 | CD | 30.00 € |
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| Halos Nag - A Golden Classic Edition 16 biisiä |
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Collectables 1995 | CD | 13.00 € |
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| 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. |
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Charly Records 2012 | 2-CD | 18.00 € |
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| Ike & Tina Turner - Kent Years 26 biisiä |
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Ace Records 2000 | CD | 18.00 € |
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| Ike & Tina Turner - Sing Great Rock & Pop Classics |
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Yellow Label 2010 | CD | 12.00 € |
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| Ike & Tina Turner - Sing The Blues 18 biisiä pariskunnan 1969 albumeilta "The Hunter" ja "Outta Session" |
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Acrobat Records 2003 | CD | 13.00 € |
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| Ike & Tina Turner - Sweet Rhode Island Red / The Gospel According To Ike & Tina Two 1974 albums from Ike and Tina and the first time on CD for the 'Gospel' album 'Sweet Rhode Island Red' features originals by Tina and covers such as Stevie Wonder's 'Higher Ground' and 'Living For The City' 'Gospel' is what you'd expect with favourites such as 'Amazing Grace' Digitally remastered and slipcased, and with extensive new notes |
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BGO Records 2012 | CD | 13.00 € |
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| Ike & Tina Turner - The Soul Of Ike & Tina Turner Well-known for her trademark legs, throaty voice, and boundless stage energy, Tina Turner was one of the sexiest and most popular international performers of the 20th century. Ike Turner, a well established seminal figure in the early years of rock & roll as both a performer and talent scout, met her one night in St. Louis while he was performing with his “Kings Of Rhythm”: she just grabbed the microphone and sang a B.B. King song, impressing Ike so immediately and overwhelmingly that he asked her to perform regularly with them. The rest is history: Ike’s slick managing skills and songwriting, along with Tina’s intensely energetic lead voice, three back-up 'Ikettes’ and a technically airtight eight-piece band produced a combination of country blues, rock and roll, ghetto rhythm and gospel passion that created a legend lasting 50 years. “It’s Gonna Work Out Fine, “ “I Pity the Fool, “ “I Idolize You, and “Tra La La La La.” are just some of the R&B gems included in their 1960 astonishing debut album. |
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Rumble Records 2012 | LP | 19.00 € |
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| Ike & Tina Turner - The Very Best Album Ever 23 biisiä vuosilta 1960-1975 |
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Emi 2002 | CD | 10.00 € |
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| Ike & Tina Turner - Rock Me Baby 20 biisiä |
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Planet Media 2000 | CD | 10.00 € |
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| Impressions - Definitive Impressions .. "The Impressions' Big Sixteen". I can still remember the first copy I ever saw, hanging in the window of "The Melody Inn" - the hippest record shop in Stanford-Le-Hope, Essex and, luckily for me, my local record shop. It was in a drop-down strip of plastic that also housed an import copy of James Brown's Try Me album, Motown Magic and The Late, Fantastically Great Elmore James. All four were second-hand, which showed an unbelievable lack of taste on the previous owner's part. I later found out from the young, ultra-aware shop proprietor Martin Hubbard - my original musical mentor, and the man who later gave me my first job in the record business - that they belonged to an ex-mod called Ron, who'd 'grown up' and traded them in for Procol Harum and Grateful Dead albums, having declared to himself that "Soul was sh*t". Silly fella... For weeks, Big Sixteen and the others blazed brazenly from the Melody Inn's window, almost daring me to buy them all. Like most kids on a limited budget, I could ill afford to even think about that, as I barely made enough money from various paper rounds, shelf-filling and eventually, a Saturday job at the 'Inn', to pay for all of the singles I wanted to buy, let alone long players (even second-hand ones!). The weekend before my 14th birthday, it was still there in the window. Someone had 'tried' JB, and someone else was experiencing the 'Magic' of Motown. But Elmore was still inexplicably up for grabs - and so was Big Sixteen. With birthday money looming large, I knew it would be mine within the week... ...Inevitably, it wasn't. Someone came in on the Saturday and bought it. I'd never asked Martin to save it, because I was convinced that everybody in my home town knew that I was going to buy it as soon as I had the money. My disappointment had to be assuaged by a just-arrived copy of The Rhythm Of Major Lance, which Martin recommended as being a good 'consolation prize', from the same source and was probably part-exchanged for "Piper At the Gates Of Dawn", "Surrealistic Pillow" or something similar - as Big Sixteen. Nice make-do if you can get it, of course. ...I still have that copy of TROML. Sadly, by the time I was working for a living and could afford to buy albums on a regular basis, Big Sixteen had been deleted. Down the years I managed to get every one of its fantastic tracks on other albums and/or singles, but I never did own that album, with its simple yet memorable cover image and its content of a dozen and four of the greatest records ever made. At least, I didn't until it eventually added another 12 tracks and re-emerged triumphantly, in 1988 and in CD form, as Kent's Definitive Impressions. This was the first compact disc to offer an exhaustive overview of the Impressions' superlative ABC-Paramount recordings. And, despite several others that have followed in its wake, it's still the only one that lives up to its title from beginning to end... ...Now, after a very lucky (for us) 13 years as a mainstay of the Kent catalogue, Definitive Impressions has been given its equivalent of a long service award, via a spruce-up that will gladden the hearts of old soul boys everywhere. We've obviously made no changes to the music - with a track listing like it has, how could there be any need for changes? - but it's been given a new packaging, with a newly-written appreciation of the Imps by yours truly plus a wealth of record labels and rare pix/ephemera for your visual pleasure. Best of all, it now boasts a front cover that pays deserving and respectful homage to Big Sixteen, by using that same cover shot on that unmistakable pale blue background. There can be few more reassuring and welcoming sights in any record collection than this... Even those with only a passing interest in soul music would have to agree that Definitive Impressions is a cornerstone to any serious collection of soul music. The proof, should you need any, is in the tracklisting - here you'll find Gypsy Woman, I've Been Trying, Keep On Pushing, You've Been Cheating, We're A Winner, I'm So Proud and People Get Ready, to name but a few of its unchallenged contenders for any musical Hall Of Fame. These, and the other 22 sumptuous, soulful songs featured have few equals in the annals of American music. There can be no questions about this that a quick scan of the remaining titles won't answer. There are many who will gladly tell you that the exquisite harmonies of Curtis Mayfield, Sam Gooden and Fred Cash make them the finest soul group of all time, I would be unwilling and unable to oppose any such assertion, and I'm willing to bet that even Ron - who, you'll remember, we already met at the top of this piece - has long since outgrown his psych leanings and would once again agree with me. Here, then, are two dozen and four of the greatest recordings made by anyone, anytime and anywhere - Definitive and, unquestionably, Impressive. By Tony Rounce (Ace Records) |
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Ace Records 2002 | CD | 18.00 € |
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| Impressions - Definitive Impressions Part 2 28 emotional highlights from the greatest soul group ever. by Ady Croasdell (Ace Records) This release speaks or sings for itself. Given the success and critical acclaim showered upon our best selling DEFINITIVE IMPRESSIONS, Kent CDKEND 923, we had a hard act to follow. However definitive that first volume may have been (it had all the biggest hits) there must have been a few tracks at the back of each Imps fan's minds that they would have loved to have seen on there. In my case You Ought To Be In Heaven, No One Else, This Must End and It's All Over were prime candidates and I could think of plenty of great LP tracks that I'd have loved to have had on one handy package. To be able to trawl through the 60s LPs of this magnificent group was a real pleasure and I got to discover tracks like A Woman Who Loves Me and That's What Love Will Do which I had previously skipped over. I'm Getting Ready, Let Me Tell The World and Love's A Comin' have long been stone favourites of mine and though the choices were totally personal I hope I've included the best of the rest-.-which in the Impressions' case is considerable. The raison d'?™tre of this release is listening pleasure, all the tracks have already been issued on Kent CDs so this is aimed at soul fans who need to hear more of arguably the greatest soul group ever, but don't need to have every track of every album. In 1965 EMI issued the Impressions "Big Sixteen" on HMV and followed it up four years later with a "Volume 2" on their Stateside label. With pleasing symmetry we've now repackaged our DEFINITIVE IMPRESSIONS CD with the same photo as that first LP and followed the second album cover on this volume. This is one Kent purchase you can leave on the car stereo, by the bottle of scotch next to the mini system - or try talking your local landlord into putting it on to the pub jukebox. It's designed for repeated listening rather than your music library. |
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Ace Records 2003 | CD | 17.00 € |
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| Inez & Charlie Foxx - Dynamo Duo The R&B and soul clubs of the 60s gave young music fans like me a unique opportunity (after years of package shows and festivals in cinemas and public halls) to experience some of the most exciting acts on the planet, at close quarters - and I do mean close! Most clubs were tiny, packed tinderboxes, breaching a dozen safety regulations, dripping in sweat and atmosphere. Artists often found them a pain - I once heard Little Richard blasting promoter Don Arden, over the phone, for booking him into 'a dirty, stinking, mother-f..... hole in the wall' (whilst apologising to us for his 'toilet-talk!') - but fans loved them. It was in just such surroundings that I first saw both Ike & Tina and Inez & Charlie Foxx and the experience of sitting on the edge of a small stage, with those ladies throbbing away at no more than arm's length is something I shall carry to my grave! Inez was among the most delectable women I ever saw and she and brother Charlie benefited enormously from these clubs (and by Mockingbird being the inaugural release on the legendary British Sue label) during the period from 1963 to 1968, when they were among our most frequent and welcome visitors. The Ike & Tina reference is not inappropriate as both duos gained their earliest success with Juggy Murray's US Sue label - long overdue for similar re-issue - and (over a memorable Chinese nosh, in Manchester) he made no bones about seeing the Foxxes as his replacement duo. Inez & Charlie, however, ploughed a lighter furrow, with their infectious brand of pop-soul and Mockingbird and Hurt By Love (with Charlie's gyrations and vocal 'bass-lines,' behind Inez's seductive singing) are still revered on the Northern Soul circuit, along with many on this fine compilation by Pete Gibbon of the best of their subsequent Dynamo output. This set, then, takes up their story after Sue and their move to Musicor's soul subsidiary, under producer Luther Dixon (Shirelles, Chuck Jackson & Co and to whom Inez was also married, briefly). Whilst they never repeated the success of Mockingbird they had a few minor hits, the biggest being 1-2-3-4-5-6-7 (perhaps most closely resembling their earlier biggies), with a more varied mix of their jauntier Northern soul fare, sweet soul ballads presaging the way things would go in the 70s and, best of all, a couple of truly startling, gospel-like 'testifying' double-headers: one segueing Jerry Butler's I Stand Accused into their own 'post-verdict' sequel, Guilty, the other turning Vaya Con Dios into a soul classic, leading into their paean to The Boys In Vietnam, which must have ruffled a few feathers at the time. Recording in NY and Memphis, using top arrangers and the likes of Willie Mitchell, Barbara Gaskins and the Sweet Inspirations providing accompaniment, Charlie had gradually moved over from vocal to production duties by the time their stint ended - prior to Inez's short solo spell with Stax (memorably preserved on CDSXD 034), which was so good that her subsequent retirement was all the more regrettable. Nothing much seems to be known of Inez, since then-.-Charlie continued in his role of producer before sadly falling victim to leukaemia in 1998. They deserve more than their relative footnote in 60s music history and this splendid gathering of their last work together should go a long way to providing it. By Brian Smith (Ace Records) |
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Ace Records 2001 | CD | 17.00 € |
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| Irma Thomas - Soul Queen Of New Orleans 2CD Disc one - masters 1960-1963 disc two: live 1976 New Orleans |
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Charly Records 2011 | CD | 18.00 € |
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| Isley Brothers - It's Our Thing / Go All The Way |
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BGO Records 2008 | CD | 15.00 € |
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| Isley Brothers - Shout And Twist With Rudolph, Ronald & O'Kelly The early days of Rudplph, Ronald and the late O'Kelly Isley are highlighted here, from the pre Fab Four 'Twist and Shout' to a brace of previously unissued sides. |
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Ace Records 1990 | CD | 17.00 € |
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| Isley Brothers - Showdown album from 1978 |
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Icon Classic Records 2008 | CD | 15.00 € |
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| Jackie Day - Dig It The Most - The Complete Jackie Day It has been at the back of my mind to compile an album of tracks by Jackie Day, a charming and elegant woman I met in the 80s, for many years. Back then I wanted to promote her singing talents in any way I could and some live performances were arranged overseas, but personal matters intervened, preventing her from visiting the UK. I could see that an LP of her recordings would have been viable, but there just didn’t seem to be enough material for a CD. Jackie’s first recordings were made for Music City, a label run by Ray Dobard, a stubborn entrepreneur who didn’t have much time for white music business operators like me or my colleagues. Consequently her Music City tracks were unlikely to be licensable nor was her ‘Naughty Boy’ 45, which she cut for a company owned by Johnny Cochran (the father of the lawyer who got O.J. Simpson acquitted). A continued lack of response from the Cochran office indicated that they were not remotely interested. It was particularly frustrating as Jackie’s sessions for Modern had produced three stunning singles and one unissued track. Then there was a 45 and at least one unreleased title for Specialty and two very good sides for the Paula label. We were getting closer to gathering enough material but needed some good fortune to fill a CD. The first break came with Ace’s purchase of Music City following Ray Dobard’s death. As Jackie had indicated to me, among the tape boxes were two excellently sung proto-soul recordings of country standards. Secondly a little more research into the Specialty tapes revealed not one but two similar and equally fine unissued titles. Then, on another tape, I discovered ‘Get To Steppin’’, a fabulous unreleased on-the-fours dancer from Jackie’s Modern sessions that I’d previously overlooked. As a DJ at the longest-ever running Northern Soul all-nighter, I should have been hammering it on the decks for the past decade to the audience’s undoubted delight. With eight Modern tracks, two Music City titles, four Specialty plus two easily-licensable Paula sides, it was just the pesky Cochrans holding back a potentially great CD. Eventually, via one of our US friends and super-sleuths, who looked at the family records, we managed to get a couple of contact numbers. Lo and behold, one call didn’t get a disconnected line, an answering machine, or an operator telling us that our call could not be put through because we had no caller ID, but a real person who was a close member of the Cochran family, and asking how she could help us? The full story is in the liner notes. Noted LA musicologist Jim Dawson who has written Jackie’s story, me and a cast of hundreds have put together a glorious package on a terrific soul singer that we think everyone will dig the most. By Ady Croasdell (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Jackie Lee - The Duck Mirwood’s style was born with ‘The Duck’, but was epitomised for the UK’s uptempo soul fanatics by the pulverising tempos and shimmering sounds of ‘Do The Temptation Walk’ and ‘The Shotgun And The Duck’. ‘Do The Temptation Walk’ was the second song to be bootlegged for the burgeoning Old Soul scene way back in 1970 before the term Northern had been coined. Though Mirwood undoubtedly aped Detroit’s Motown machine and Chicago’s slick soul sounds, the small indie label came up with its own recognisable brand. The instrumentation was always spot on, never over-embellished, but it was those upfront, uptight, girly vocals that proved to be the Mirwood watermark. In Sherlie Matthews the company had not only a great songwriter and singer but the best and most creative backing vocals arranger in the country. Those distinctive feminine interjections on the hit ‘The Duck’ must have been noted and by the time of the LP’s recording and the next single ‘Your P-E-R-S-O-N-A-L-I-T-Y’, (interestingly not featured here) the girls’ vocals were even more to the fore. On ‘The Duck Pt 2’ and ‘Do The Temptation Walk’, Jackie and the girls are in call and response mode. On this LP, a nod was given to Berry Gordy’s inspiration with the inclusion of ‘Dancing In The Street’ and ‘Do You Love Me’, but the subsequent Mirwood application gave those old songs (in pop terms) a new twist, that must have been both vibrant and exciting at the time. Like most US albums cashing in on a hit, it’s instinctive stuff and funnily enough it is tracks such as ‘Hully Gully’ and ‘The Bounce’, probably used to give Fred Smith some songwriting royalties, that embraced the new groove as well as any. Coming out in 1965, I was a little too young and poor to carry this icon around at school, advertising my hipness. I’m sure a few of the old modsters will stick their hands up to that. Like Major Lance on his Okeh photos, Jackie looks the business; a hip young black guy with neat cropped hair and a sharply cut cardi to show those dance moves in. This disc will take your mind back to those halcyon days; even if your body can’t quite make the trip. By Ady Croasdell (ACE RECORDS) |
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Ace Records 2010 | CD | 12.00 € |
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| Jackie Ross - Jerk & Twine - The Complete Chess Recordings 1964 was a pivotal year for American popular music. The Stateside breakthrough of the Beatles and the ensuing British invaders changed the face of the nation’s charts, triggering a decline in sales for many domestic hit-makers who, overnight, became seen as outmoded. An exception to the rule was Motown, whose stable of stars not merely hung in there but went from strength to strength. The company’s golden girl, Mary Wells, topped the charts that year with ‘My Guy’, but her ill-advised departure at the height of her success signalled the cancellation of a projected follow-up, effectively opening a gap in the market. Meanwhile in Chicago, Leonard Chess, founder of the venerable company that bore his name, was ever mindful of happenings at Berry Gordy’s nearby Detroit empire. As did Motown, Chess had its own family of musicians, writers and producers who were turning out a stream of fine product for the hungry soul market, but rarely scoring with a solid crossover smash. Enter former Sam Cooke protégée Jackie Ross, a pretty teenager with a voice not dissimilar in tone to Mary Wells. Newly signed to Chess, her label debut unintentionally filled the ‘My Guy’ follow-up gap perfectly. Just as the intro to Mary’s smash had subtly incorporated strains of ‘Canadian Sunset’, so ‘Selfish One’ employed Nat King Cole’s ‘Tenderly’ to equally cool effect. Jackie slid easily from the soul to the pop charts with one of the most memorable hits of the year. Jackie was soon ensconced in Chess Records’ Ter-Mar Studios with in-house arrangers Phil Wright and Riley Hampton and producer Billy Davis cutting material for future singles and her “Full Bloom” album. ‘I’ve Got The Skill’ and ‘Jerk And Twine’ both made the charts, but the equally fine ‘Haste Makes Waste’, ‘You Really Know How To Hurt A Girl’, ‘Take Me For A Little While’ and ‘We Can Do It’ all failed to catch on. A few ill-chosen words with Leonard Chess later, after just over a year with the company, Jackie’s tenure as a Chess artist came to an abrupt end. As a result, a number of excellent 1965 recordings were consigned to the shelf, of which ‘It’s Going All The Way’, ‘I Dig His Style’ and ‘Trust In Me’ first surfaced on a 1998 CD release. The previously unissued ‘Stick To One’ and ‘My Square’ debut here, making this collection Jackie’s complete Chess Records output. Together with our recent Etta James, Sugar Pie DeSanto and Mitty Collier releases, it shows how great the company’s roster of female talent was. By Malcolm Baumgart (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| Jackie Wilson - At The Copa live vuodelta 1962. 16 biisiä |
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Brunswick Records 2000 | CD | 15.00 € |
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| Jackie Wilson - Please Stick Around 25 tracks. Linda Hopkins on two tracks |
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Plastamatic Records 2009 | CD | 17.00 € |
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| James Browm - Love Over-Due |
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Scotti Bros 1991 | LP | 13.00 € |
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| James Browm - Prisoner Of Love |
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Polydor Music | LP | 17.00 € |
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| James Brown - Body Heat 60 min konsertti vuoden 1979 tammikuulta Montereystä, Californiasta. |
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Gravity | DVD | 9.00 € |
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| James Brown - Cold Sweat reissue of his 1967 LP |
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Polydor Music | LP | 15.00 € |
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| James Brown - I Got The Feelin' King albumin harvinainen japanipainos CD:nä ! |
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Polydor Japan 2003 | CD | 20.00 € |
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| James Brown - Mr Dynamite 125 min |
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Soul Brother 2007 | DVD | 7.00 € |
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| James Brown - Pure Dynamite |
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Polydor Incororated | LP | 15.00 € |
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| James Brown - Sings Out Of Sight gatefold sleeve |
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Smash Records | LP | 15.00 € |
