| James Brown & Friends - A Night Of Super Soul Nauhoitettu livenä Detroitissa Michiganissä 1987. Pituus 57 min. Mukana mm Wilson Pickett, Billy Vera, Joe Cocker, Robert Palmer, Aretha Franklin |
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Immortal 2005 | DVD | 18.00 € |
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| James Carr - A Man Worth Knowing The 1990s Goldwax & Soultrax Recordings. 20 tracks |
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Ace Records 2006 | CD | 17.00 € |
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| James Carr - Complete Goldwax Singles Regarded by many as the greatest soul singer of all time, these are all 28 of James' legendary Goldwax singles: A- and B-sides. "Arguably the greatest deep soul singer of them all" - Mark Pringle, Mojo magazine. James Carr is a soul singer whose corner has been championed by Dave Godin in his Blues and Soul columns, by Peter Guralnick in his seminal book "Sweet Soul Music", by erstwhile Radio 1 DJ Andy Kershaw and by Southern and Deep Soul fans constantly. Carr's major and best work was recorded in Memphis for Quinton Claunch's Goldwax Records between 1964 and 1970. He cut fourteen great singles which amazingly enough have twenty-eight different songs that vary in quality from good to stupendous. The marriage to UK's Ace/Kent is particularly fortuitous as we are in a position to be able to issue the complete set of sides on one CD and, apart from enjoying our soul music, we like nothing better than doing things thoroughly. Another big advantage of our handling the project is the meticulous care and effort expended by Peter Gibbon in tape research and cataloguing and by Roger Armstrong in selecting the correct tapes and mixes for the singles versions: re-mixing the original 4 track tapes where appropriate. Additionally the aforementioned Mr Godin contributed the sleevenotes with the pertinent words and insights that only he can deliver. This is all very well, but of course in the end it comes down to the music and the combination of James Carr and Goldwax was where the magic happened. Goldwax's strength was in choosing songs that would bring the best out of him by putting together musicians, producers and arrangers who would do the job just right, no more, no less. The arrangements of the songs are always appropriate for the numbers, witness for instance the beautiful A Man Needs A Woman that eschews a brass section in favour of a sympathetic female chorus-.-that is until the dynamics of the song demands some emphasis and the harmonic horns come in. Personally I'm a sucker for tension in a record and Life Turned Her That Way begins with a poignant introduction that slowly builds in intensity. The beat then gets a little more 'unnecessary' as Joe Tex would put it and by the end it's turned into a full blown raver. Perhaps this was Goldwax's Try A Little Tenderness. Indeed James occasionally imitates the Big O as he does many of the other great singers of his generation. In the 60s, that was taken as a mark of respect and also a sure-fire way of winning an audience over to his side. Virtually every black act did it to some extent-.-Otis would copy Sam Cooke, while Sam would copy Nat "King" Cole-.-it was common practice and showed an act's versatility, getting him paid in towns that weren't au fait with his records. Though now revered for his balladry, James Carr was probably better known as an uptempo soul singer in the UK in the late 60s when a lot of his records were played in the hipper clubs. The most famous of these is Freedom Train which was a guaranteed play across the country when B&C released it in 1968. Stateside releases like Coming Back To Me Baby and A Losing Game picked up more and more plays in the immediate years after being issued. The demand for That's What I Need To Know built so much that it was re-released along with Freedom Train on Contempo's Mojo label in 1972. There are also great finger clicking numbers like Pouring Water On A Drowning Man and I'm A Fool For You, some R&B influences in Talk Talk and Gonna Send You Back To Georgia and even a big city beat ballad with I Can't Make It. All are recorded to Goldwax's exacting standards and of course all feature one of THE great soul voices. And apart from enjoying one of the highlights of black music in The Dark End Of The Street, you'll get to appreciate what good songwriters the Bee Gees are when you hear James Carr sing To Love Somebody, taking it to a whole new dimension. By Ady Croasdell (Ace Records) |
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Ace Records | CD | 17.00 € |
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| James Carr - In Muscle Shoals EP Lots of you in Right Track Land seem to like the Kent EPs that we’ve been putting out in the last couple of years, and we can promise you that there’ll be several more in the coming months. Many will be comprised of music recorded in the American South, a part of the world close to the Kent A&R staff’s hearts for any number of reasons beyond the obvious quality of the music that sprung from there. Lovers of southern soul will be well pleased with these, particularly as a number of them will contain music that they have never heard before… In the wake of ‘The Stars Of Goldwax’ and ‘The Stars Of Fame’ it’s great to be able to end the year with an EP containing four songs by a man who recorded for one of those labels and, on occasion, at the studios of the other. ‘James Carr In Muscle Shoals’ brings together the three tracks from James’ 1968 session at the Shoals area’s Quinvy Studios, and complements it with one from an early 1969 session at FAME. While all of the tracks have been released before, two are hitherto unreleased on vinyl and the other two have been mixed into first-time stereo, from the original 4 track multis, expressly for this project. The contents of the EP offer a well rounded demonstration of James Augustus Carr’s abundant vocal capabilities. Deep soul, country soul, funky soul – James could do the lot and do it all well, even if it’s the deeper side of his catalogue that has predominantly earned him his enduring reputation with collectors and fans the world over. All four selections included here offer five star performances, but Southern Soul seldom gets better than it does on our lead track, ‘That’s The Way Life Turned Out For Me’, a truly intense performance that sets the tone for what follows in its wake (and the version of ‘Life Turned Her That Way’ that does follow it, is different to the one that previously graced 50% of a Goldwax 45). Fans of the up-tempo side of James will be pleased to have his take on the Young Rascals’ ‘Love Is A Beautiful Thing’ on vinyl at long last, while collectors of versions of George Jackson’s terrific song ‘Search Your Heart’ will be just as delighted to own James’ cut on vinyl for the first time. As well as the great music on offer, our cover features – as a bonus - a very rare photo of James that has only appeared once before in any Ace/Kent project. Packaged in a style that complements our previous and future Extended Play releases, and available only as a limited edition of 1000 copies (when they’re gone, they’re gone…) this is sure to be snapped up swiftly on its way to becoming a future collectors’ item… …Next up in this ‘series’? Well, you’ll just have to wait and see what that is, but I can promise you already that you’ll like it! By Tony Rounce (Ace Records) |
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Ace Records 2011 | Single/EP | 13.00 € |
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| James Carr - My Soul Is Satisfied All good things do eventually come to an end, and so it is that this month we conclude our James Carr reissue programme, with a sixth and final CD. "My Soul Is Satisfied" rounds up all the remaining studio masters of James - those still in existence, at least - in a package that upholds its title in every way. As A&R supervisor for the project I take no small degree of delight in the fact that, with this release, at least one version of every traceable James Carr studio recording is now available on an Ace or Kent CD - delight that's shared by all of my colleagues here at Ace Towers, of course. "My Soul Is Satisfied" covers virtually the entire span of James Carr's recording career, from 1967 to 2000, in a manner that befits the revered status of late great soulman. It features unissued and hard-to-find material from every stage of his career, including some of the best recordings you may have yet to hear. It's taken over a year to check and double check all the original Goldwax tapes in our vaults, and to organise the licensing-in of the repertoire James cut for Atlantic, River City and SoulTrax. The end result was more than worth the time it took to pull it all together. In the course of an hour and a bit we hear James at his mid-60s 'original Goldwax' peak, with stunning alternate recordings, takes and mixes of some of his classic Goldwax 45s and album cuts. We hear him duetting with criminally under-recorded Goldwax thrush Barbara Perry and having a successful bash at interpreting Bacharach & David and Holland-Dozier-Holland. As we move through the CD we take in both sides of James' sole Atlantic 45 and all three of his mid 70s recordings for River City (only two of which were originally issued) - the sum total of James' issued output between 1971 and 1991, in fact. The remainder of the CD consists primarily of recordings that James cut with his mentor and original producer Quinton Claunch as the 20th century drew to a close and that were mostly originally issued on a SoulTrax CD that mixed them with previously issued SoulTrax sides. Recorded with a real Memphis rhythm section and featuring James in superb voice, these are as much a treat for the ears as are the selections from a quarter of a century earlier. We're also privileged to include what seems to be the last recording James ever made, his demo of A Woman's Got The Power. Quinton Claunch told me that James wasn't feeling too well on the day of the session, but that he agreed to lay a guide vocal of the basic rhythm track with a view to going back and putting down a better one when his voice was in better shape. Sadly that never happened, but as you'll hear, there's nothing wrong with the basic, one take, job he did here. One or two of the sources are sadly not of the standard that we would routinely entertain on an Ace or Kent CD, but I figured that James' fans would rather endure a bit of lo-fi here and there than to be deprived of a precious unissued performance. Thus the guys downstairs at Sound Mastering - who made everything sound as good as you'll ever hear it, anyway - were asked to relax their super-high audio standards, where necessary, in the name of satisfying the James completist (aren't we all that?). Most of the tracks sound colossally brilliant, of course - and would probably have done so if James had recorded them from inside a cardboard box. Fittingly the CD concludes with the only three recordings of James Carr, gospel singer. These were originally released on a now-deleted Jubilee Hummingbirds CD back in the early 1990s, and it's a fair bet that a lot of James' fans will not even be aware that they exist. Prior to becoming the great southern soul stylist that he unquestionably was, the young James (and his early Goldwax label mate O V Wright) had been a member of the Hummingbirds in the early 1960s, so these three sensational sides were something of a homecoming for him. I'm certain you'll agree that, collectively, they provide a wholly appropriate way to close this very special CD. And if all this good stuff wasn't already enough, we are delighted that - in addition to all the unissued sides and alternate takes of familiar tracks - we can also bring you a cover shot of James, taken in Memphis by Tav Falco in the second half of the 1970s, that has never been published before. We're always getting asked if there is any more James Carr material in the can. Sadly, after this release, the answer seems to be a firm and fast 'no'. Of course we'd release James Carr CD's 24-7-365 if we could, but save for one or two more (very similar) alternate takes of existing masters there'd nothing new to fill 'em up with. If this CD really does close the door on James Carr's studio recordings, then it closes it in the most soul-satisfying way possible. By Tony Rounce (ACE RECORDS) |
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Ace Records 2004 | CD | 17.00 € |
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| James Carr - You Got My Mind Messed Up |
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Ace Records 2002 | CD | 17.00 € |
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| Jeanne And The Darlings / The Charmels - We're The Soul Girls ! - The Complete Volt Recordings This Stax distaff double-header anthologises two underrated teams of ladies whose voices were utilised behind the scenes at McLemore Avenue as well as in their own right. Both were with the company for a number of years and neither ever had a long-playing vinyl release, which makes this new CD extremely welcome. “We’re The Soul Girls” features everything released on Volt by Jeanne and the Darlings and the Charmels, as well as eleven tracks that were not issued at the time. Their original 45s are admired by girl group fans, and both the Darlings’ ‘Soul Girl’ and the Charmels’ ‘As Long As I Have You’ are also cherished by collectors of original breakbeats. The Charmels were at Stax throughout the Atlantic-distributed years. As the Tonettes, theirs were the first voices to be heard on the Volt label when ‘No Tears’ became Volt 101 in early 1962 (#100 was an instrumental by the Triumphs). The Tonettes had a second single a few months later, and recorded enough material to fill four more 45s, but they caught an unexpected break when Nashville label Sound Stage 7 needed a black female group to go out as the Dixiebelles to promote a studio-created Hot 100 hit called ‘Down At Papa Joe’s’. The Tonettes masqueraded as the Dixiebelles until that concept had run its course, and returned to the Volt roster in late 1966 as the Charmels (and, on their final Volt 45, the Charmells). Working with Isaac Hayes and David Porter they rolled out four exemplary 45s over an 18 month period that extended into the early days of the post-Atlantic era. They also backed up a number of Stax’ solo artists during part of that period, a role they shared with a trio of equally estimable ladies led by Arkansan Jeanne Dolphus – or Jeanne Darling as she was known professionally. Jeanne and her fellow Darlings would quickly become Stax’ equivalent of Motown’s Andantes, lending their vocal backups to an increasing number of sessions featuring solo Stax acts. Unlike the Andantes, who managed just one single in their own name during the years they were with Motown, Jeanne and the Darlings saw six singles issued over a three-year period with Volt. They too started their own career under the supervision of Hayes and Porter, before moving on to work with other great Stax writer-producers, including Don Davis and the celebrated ‘We Three’ trio of Bettye Crutcher, Homer Banks and Raymond Jackson. None of the unissued tracks by either group is inferior, and just about all of them could have been considered for singles. You might think that there can’t be much left to do with Stax, given how many great CDs have preceded these two on the Ace catalogue. That’s not the case and, even as these two are finding their way into your collections, I’m mining the tape vaults for yet more exciting projects by both familiar and fairly obscure Stax acts. The ‘clicks’ just keep on coming…. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 23.00 € |
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| Jerry Butler - Good Times / We Grown Accustomed To Her Face VG++ |
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Vee-Jay Records | Single/EP | 5.00 € Käytetty |
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| Jerry Fuller - A Double Life - The Challenge Recordings 1959-1966 Jerry Fuller enjoyed modest hits between 1959 and 1961 with ‘Betty My Angel’, ‘Tennessee Waltz’, ‘Guilty Of Loving You’ and the very Gene Pitneyesque ‘Shy Away’, all prime examples of the kind of records you’d expect to find on one of Ace’s “Teenage Crush” compilations. “A Double Life”, the first ever collection of the Texas-born singer’s recordings cut during his sevenyear tenure at Challenge Records of Los Angeles, includes all four of those, plus a whole lot more. |
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Ace Records 2008 | CD | 18.00 € |
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| Jerry Lee Lewis - Mean Old Man deluxe digipack edition with 18 tracks ! |
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Shangri-La Roots 2010 | CD | 22.00 € |
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| Jerry McCain - Somebody's Been Talking 15 biisiä |
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Westside Records 2000 | CD | 17.00 € |
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| Jesse Dee - Bittersweet Batch Dee’s influences read like a Who’s Who of classic soul music. Otis Redding, Sam Cooke, Etta James, Al Green and many others. But Jesse Dee is not just a student of the classics. He also loves the new wave of rootsy artists –James Hunter, Amos Lee and John Legend, among them. “Soul music has always hit me harder than any other kind of music,’’ says the Boston-based Jesse, who has learned his lessons well. He puts a convincing new spin on the subject with his debut solo disc, “Bittersweet Batch,’’ which should please anyone with a love of this heartfelt style. Jesse adds a stunning vocal expressiveness and a unique ability to inject and dissect emotions. He delivers it all with a warmth that comes from analog recording and from cutting a lot of the songs live in the studio. Jesse co-produced “Bittersweet Batch’’ (consisting of all-original tracks) with Jack Younger in the latter’s Basement 247 Studio. Younger has also produced for fellow Boston roots phenomenon Eli “Paperboy’’ Reed. The record is targeted for a Sept. 9 release on 7 Note Records, which has previously issued music from talented Boston singer Danielle Miraglia. Jesse’s love of soul is honest to the core. When you step into his home studio, for example, you may find him putting on a vinyl copy of “The Best Chess Vocal Groups,’’ including cuts on the seminal Chess Records by the Moonglows, Miracles, and Flamingos. And on the walls are paintings that he has created of faves like Jackie Wilson and James Brown. The paintings are exceptional. Jesse is a graduate of MassArt (Massachusetts College of Art and Design) and almost went into art as a profession over music. “I’ve been painting longer than I’ve played music,’’ says Jesse. “I have studied art most of my life and have been doing both for a while, but I made my decision to focus on music.’’ Raised in the Boston suburb of Arlington, Jesse started at MassArt by studying illustration, but switched over to its Studio for Interrelated Media, where he studied performance, production, mixed-media, and composition. During college he was in the ten-piece band Decifunk, which played up and down the east coast and released an original record called “Open Your Eyes’’ on Squeezebox Records in 2001. That was followed by a stint in the group The Dirty Whites (“more like Black Sabbath meets Motown,’’ he says). They put out a five-song, self-released EP in 2006. Then came his own group under the name Jesse Dee, which includes guitarist Matthew Joy, bassist Jim Larkin, and drummer Matt “Pie’’ Beaulieu. They’re all on the new album, as are such top-notch guests as guitarist Kevin Barry (Paula Cole, Dennis Brennan), and the soulful duo of Dwight & Nicole, not to mention an all-star horn section with Scott and John Aruda, and Paul Ahlstrand, who has played with Susan Tedeschi. The new record has some “bittersweet’’ themes, hence the title “Bittersweet Batch,’’ but most songs reflect Jesse’s ultimately positive view of the world. The standout “Slow Down,’’ which is on his myspace page (myspace.com/jessedee), has an easy-loping swing groove and the message that “people try to stay with the pace but the fact is that life is not a race.’’ Other upbeat tunes are “Still Here’ and the buoyant “Alive & Kicking.’’ Jesse, who has opened for Al Green, is also a cofounder of Sea Monsters, a popular club band he started with singer Christian McNeill. It’s a true musician’s band and has featured guest appearances from other Boston roots acts such as Tim Gearan, Miss Tess, and Dennis Brennan. Jesse still paints and freelances as a graphic designer. The painting sparks his music. “I sing when I paint,’’ he says. “I’ve composed songs while I paint a number of times.’’ But exploring and updating soul music is his true passion. “I’m just trying to get better – to write better songs, get better at performing them, and enjoy myself in the process,’’ he says. -- Written by Steve Morse, a former staff writer for the Boston Globe |
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Munich Records 2009 | CD | 18.00 € |
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| Jessie Hill - Ooh Poo Pah Doo - Golden Classics |
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Collectables | CD | 17.00 € |
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| Jimmy Hughes - Steal Away - The Early Fame Recordings When we issued the box set “Take Me To The River” in August 2008, we hinted that we had many more projects in the pipeline that would gladden the hearts of Southern soul fans. My colleague Dean Rudland’s trawl of the Sounds Of Memphis tape library continues to yield awesome results and we’re both very proud that we are bringing you “The Complete Goldwax Singles” across three double CD volumes, with the third to come early next year. Dean's “Memphis 60” project will soon spawn a follow-up volume and its 1970s companion is also doing very nicely. This month, it’s with no small amount of pride that we welcome the repertoire of Fame Records to the Ace/Kent catalogue. We have been working on a deal with Fame for some years and we are thrilled that the Hall family has agreed to let us loose on their superb vintage repertoire. What better way to consummate a relationship than with a two-volume project that will reissue every surviving master of the flagship artist of Fame’s early years, the great Jimmy Hughes. The recent “Best Of Jimmy Hughes” CD has inevitably led to demands for the reissue of all his tracks. Happily, Jimmy actually recorded enough material for Fame to fill two CDs. The halfway mark in the repertoire comes around the point where Rick Hall switched Fame’s distribution from Vee-Jay to Atlantic. Thus is it that “Steal Away”, the first of our two CDs, concentrates almost totally on the tracks that Jimmy cut between 1962 and 1965. The only exception is ‘Steal Away Pt 2’, one of Jimmy's final Fame masters from 1968 and a better fit on a CD that also contains the original hit version of ‘Steal Away’. That track is one of several fantastic unissued masters that Rodney Hall and the Fame folks have unearthed for this CD. Among the others here is Jimmy's fine version of ‘My Adorable One’, which he cut while Joe Simon was scaling the charts with his original recording of the song. Perhaps the best is the ‘You Better Move On’-like early Dan Penn gem ‘Have You Done Got Over Me’ from 1962 but, as with the released material, there’s not a bad track among them. There will be more previously unissued Fame masters on our follow-up volume. As for that issued material, Jimmy’s original “Steal Away” album is augmented by all the non-LP sides that came before and after its release, from his debut Guyden 45 ‘I’m Qualified’, through to the final Vee-Jay-distributed Fame release, Penn and Oldham’s ‘You Really Know How To Hurt A Guy’. The highlight for many will be the majestic ‘You Might As Well Forget Him, a Tommy Roe composition that has been recorded by many but that is heard at its best in Jimmy’s dynamic rendition. Label shots of all the singles and the album make an indispensable package all the more attractive to the Southern Soul connoisseur. Look for “Why Not Tonight: The Later Fame Sides” in the spring of 2010. by TONY ROUNCE (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| Jimmy Jones - Good Times With The Handy Man 1955-1960 2CD One of most popular American performers in Britain during 1960 thanks to the hits, 'Handy Man' and the UK No. 1 hit, 'Good Timin''. This is the first Jimmy Jones release to cover his recording career from his doo wop days beginning in 1955 through to his solo fame in 1960. Jimmy's unique falsetto vocals influenced many other performers and this great 2CD set is complete with extensive liner notes covering his career and recordings. |
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Jasmine Records 2011 | CD | 13.00 € |
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| Jimmy Lewis - Give The Poor Man A Break Jimmy Lewis is absolutely in the first rank of down-home soul philosophers - in the company of such great figures as Joe Tex, George Jackson, Don Covay and Jerry "Swamp Dogg" Williams. This CD follows on from the critically acclaimed Still Wanna Be Black (CDKEND 153) set of a couple of years ago, and will surely enhance his reputation even further. Long a back-room hero to discerning fans, this collection, which features many never-heard-before songs, highlights just how scandalously he has been under recorded during his 40 years in the biz. For, in addition to showcasing the kind of gritty, hoarse vocals that you expect from a soul singer of his generation and Mississippi birthplace, Give The Poor Man A Break is a shop window for his astonishingly creative song writing talents. Such stars as Ray Charles, ZZ Hill, Bobby Womack and Johnnie Taylor may have covered his material, but, in truth, there is nothing like a Lewis demo for bringing out the subtleties of his own songs. And there is plenty of evidence to back up that statement here, from the brilliant Three Into Two Won't Go, and the southern funk of Things Got To Get Better to Careful Man, one of his very best numbers, superbly crafted. In 1974, around the time that much of the material here was penned and recorded, Lewis had this to say about his own approach to writing, "All my songs tell stories and then everything else is built around that story. I don't write things that deal with present situations like a Watergate, etc, because they become dated. My songs are about life. I am a prolific 'life writer', just like you live it and just like it's happening." This is perfectly illustrated in one of only two tracks here that ever appeared on vinyl, the top side of his one Volt 45 Stop Half Loving These Women. This vintage performance also features one of his most effective tricks, multi-tracking his own vocals so that the song seems to be a conversation between two or even three people. This gives the feeling of a discussion on a street corner or a bit of banter in a neighbourhood bar, the concerns of his audience made all the more real. As an observer of the social scene - particularly as it relates to those two obsessions of everyday life, love and money - Lewis is among the most acute of all southern black writers. A subtitle to this CD would be "The Wit And Wisdom Of Jimmy Lewis", a combination much to be welcomed in these days of rather cruder sexual imagery that pervades the urban charts. By John Ridley (Ace Records) |
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Ace Records 2002 | CD | 17.00 € |
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| Jimmy Norman - Home 21 tracks |
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Official | CD | 19.00 € |
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| Jive Five - I'm A Happy Man - The UA Album plus Bonus Singles The Jive Five began their singing career at the time when soul music was establishing an identity in the era of R&B, and their songs have doo-wop roots with soul stylings. The lilting I m A Happy Man was a crossover Hot 100 hit in 1964, their first chart entry on United Artists. Featuring the distinctive lead vocal of Eugene Pitt, the Jive Five recordings for United Artists were included in their first album, now re-issued on CD by Shout! Records. In addition are the singles tracks omitted from the vinyl LP, plus a further bonus with the solo single by Eugene Pitt recorded for UA s soul subsidiary label Veep. These landmark vocal group recordings have not been available some 20 years, and the album is valued at premium price by collector dealers. |
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Shout Records 2011 | CD | 17.00 € |
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| Joe Tex - Funny Bone / I Want To (Do Everything For You) original USA pressing. VG |
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Dial | Single/EP | 7.00 € Käytetty |
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| Joe Tex - Hold What You've Got / Show Me |
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Collectables | Single/EP | 5.00 € |
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| Joe Tex - Singles A's & B's Vol. 4 1972-1976 18 tracks. Volume 4 of our series collating the singles recordings by Joe Tex from his years on the Dial label covers 1973 to 1976, chronologically sequenced, and featuring the A-side and B-side of each 45. Here we have R&B hits Woman Stealer, Under Your Powerful Love and Have You Ever, plus crossover smash Ain't Gonna Bump No More (With No Big Fat Woman), a long with collectors items from that period, including the humour of Sassy, Sexy wiggle, the bluesy Mama Red, plus the supreme balladry of Baby It s Rainin displaying the versatility of the Clown Prince of Soul. With the exception of a July 1975 session in New Orleans (Have You Ever/Baby It s Rainin), all other tracks were recorded at the Soundshop in Nashville with Joe's road band and the cream of local session musicians, under the watchful production of Buddy Killen. |
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Shout Records 2011 | CD | 17.00 € |
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| Joe Tex - You Better Believe It Baby / I Believe I'm Gonna Make It VG |
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Dial | Single/EP | 10.00 € Käytetty |
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| Johnny Copeland - It's Me - Classic Texas Soul 1965-72 2CD At the time of his death 15 years ago, Johnny Copeland was regarded as one of the world’s premier blues artists, a Grammy-winner with a strong body of work behind him. Success had come late, preceded by almost 30 years of working hard to make a living. In those years he recorded extensively, building a catalogue of 45s that did little to advance his career, despite their unbridled excellence. Many of those 45s fell into the hands of appreciative soul and blues collectors around the world, establishing Johnny as a cult hero whose work was always worth a listen. Johnny had been working for a decade when he entered into a professional relationship with producer Huey Meaux in 1964, but it wasn’t until he came under Huey’s wing that his records found their way beyond Texas and onto bigger labels. Huey recognised Johnny’s talent and recorded him extensively. The records they made together form the basis of this important new 2CD set. “It’s Me” is the most comprehensive collection of Johnny’s mid-60s to early 70s recordings ever assembled. Here you’ll find Huey Meaux-produced Wand, Suave, Jet Stream, Boogaloo and Wet Soul singles, material Johnny either sold to or cut directly for Kent-Modern in the early 1970s, two rare duets he recorded with South Texas R&B heroine Miss La Vell White as Johnny & Lilly, sides submitted to Wand for a proposed album that never happened, previously undocumented songs, and some fabulous vocal/guitar demos, some of which have never been issued before. None have ever sounded better than they do here, thanks to extensive vault research undertaken by me and my colleague Alec Palao in 2012. (Due to the disappearance or deterioration of a few tapes, fresh dubs were made and remastered from scratch.) I first heard Johnny Copeland when my old pal Tony Cummings sat me down and played me ‘Dedicated To The Greatest’ almost 45 years ago. The power and soul in his voice made me an immediate fan. It’s been a true honour to work on a project that at last puts this classic material into the context it’s always deserved. By Tony Rounce (Ace Records) |
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Ace Records 2013 | CD | 25.00 € |
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| Johnny Guitar Watson - A Real Mother For Ya Deluxe Expanded Edition |
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Castle Music 2003 | CD | 15.00 € |
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| Johnny Guitar Watson - Love Jones Deluxe expanded edition |
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Castle Music 2003 | CD | 13.00 € |
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| Johnny Johnson & The Bandwagon - Breakin' Down The Walls Of Heartache 1968-1975 Best Of All the best 45s and album cuts from one of the USA's most successful soul exports. The first ever Johnny Johnson & The Bandwagon CD release. |
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Ace Records 2008 | CD | 18.00 € |
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| Judy Clay & Veda Brown - The Stax Solo Recordings |
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Ace Records 2008 | CD | 18.00 € |
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| Justin Townes Earle - Nothing's Gonna Change The Way You Feel About Me Now Nothing’s Gonna Change the Way You Feel About Me Now, the new album from celebrated singer-songwriter Justin Townes Earle, will be released March 27 on Bloodshot Records. This is Earle’s fourth release and follows his critically acclaimed 2010 album, Harlem River Blues, which debuted #47 on the Billboard Top 200 chart and led to a “Song of the Year” award at the 2011 Americana Music Awards. In celebration of the release, Earle will perform a series of special shows this winter followed by a full U.S. headlining tour this spring including an appearance at SXSW. Produced by Earle alongside longtime collaborator Skylar Wilson, the 10-track album was recorded completely live with no overdubs over a 4-day period at an old converted church recording studio in Asheville, NC. Of the new record, Earle comments, “I think that it’s the job of the artist to be in transition and constantly learn more. The new record is completely different than my last one, Harlem River Blues. This time I’ve gone in a Memphis-soul direction.” And that's true enough. While Harlem River was a love letter to his new hometown of NYC, this new album is a gorgeous, sometimes lush sometimes sparse, paean to a city that's given so much to the world musically. The sweat, the horns, the soul..... |
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Bloodshot Records 2012 | CD | 20.00 € |
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| Kenny Lynch - Nothing But The Real Thing-Best Of 60-69 |
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RPM 2004 | CD | 19.00 € |
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| King Coleman - It's Dance Time! “I’m the bald headed wonder, full of lightning and thunder!” proclaims King Coleman, the Hully Gully Mashed Potato Booga Lou Man! Get on board with the first ever roundup of the King’s wicked sixties soul dance hits! From his over the top vocal whomp on Nat Kendrick and the Swans’ 1959 smash hit (Do The) Mashed Potatoes to his own roof raisers like The Boo Boo Song, Alley Rat and Do The Booga Lou, this frantic platter just never lets up! And while you’re catchin’ your breath, dig the King’s colorful bean spill on his wonderful, wild n’ wooly career! Like the man himself sez: “IT’S LOO-KEY DOO-KEY TIME!” |
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Norton Records 2003 | LP | 13.00 € |
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| King Curtis - Get Ready originally released 1970 |
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Wounded Bird Records 2009 | CD | 17.00 € |
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| King Curtis - Instant Groove re-issue of his 1969 LP |
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Atco Records | LP | 13.00 € |
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| King Curtis - New Scene Of King Curtis |
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Doxy Music 2012 | LP | 18.00 € |
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| King Curtis - Soul Twist with |
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Enjoy Records | LP | 13.00 € |
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| Knight Brothers - Temptation 24 tracks |
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Shout Records 2004 | CD | 18.00 € |
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| LABELOGRAPHY - The Major U.K. Record Labels - Jan Pettersson A First Pressing Identification Guide for CBS, Columbia, Decca, Fontana by Jan Pettersson 592 pages, format 169x239 mm HMV, Parlophone and Pye Singles, EPs and LPs 1953-1975 |
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Premium Publishing 2008 | Kirjat | 48.00 € |
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| Laura Lee - Women's Love Rights + I Can't Make It Alone + Two Sides 2CD three LPs from 1971-1974 on this double CD set. 32 tracks |
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Edsel Records 2010 | CD | 15.00 € |
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| Laurel Aitken - The Pama Years Vol. 1 1969-1971 the legendary godfather of ska. tracks from 1969-1971 |
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Grover Records 1989 | LP | 18.00 € |
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| Leo's Five - Direct From The Blue Note Club, East St. Louis Thunderous Hammond grooves complemented by Albert King's blues guitar licks from East St. Louis' favourite house band |
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Ace Records 2008 | CD | 17.00 € |
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| Linda Jones / Ruby Andrews - Hypnotized / Casanova |
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Teen Records | Single/EP | 5.00 € |
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| Linda Lewis - Fathoms Deep A Lost 1970's Soul Classic !! |
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Collector's Choice Music 2008 | CD | 12.00 € |
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| Linda Lewis - Lark Progressive early 1970s Soul from the on-time back-up singer for David Bowie and Cat Stevens |
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Collector's Choice Music 2008 | CD | 12.00 € |
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| Little Anthony And The Imperials - Goin' Out Of My Head / Payin' Our Dues 2 LPs from 1965 & 1966 on 1 CD |
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BGO Records 1996 | CD | 18.00 € |
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| Little Willie John - Heaven All Around Me - The Later King Sessions 1961-63 The Little Willie John renaissance continues, with Ace’s third and final volume of Willie’s King recordings. Our release of “Heaven All Around Me” means that virtually every master that Willie cut during his sadly truncated career is now available on either Ace or Kent. Our recent Kent release of Willie’s complete Capitol recordings (“Nineteen-Sixty-Six”, CDKEND 305) was an across-the-board success with both long time devotees and more recent ‘recruits’ to the Willie John cause. Forty one years after his unfortunate death, it looks as though the magnitude of Willie’s talent is gaining recognition. In particular, Willie’s fairly recent rediscovery by the UK’s New Breed R&B fans has led to tracks like ‘Until Again My Love’ and ‘Don’t Play With Love’ – both of which feature on this CD – being played extensively on that scene along with earlier LWJ favourites like ‘I’m Shakin’ and ‘Spasms’. The value of the original 45s is rising to reflect their new-found popularity. Apart from the four instrumentals cut at his sessions on which did not appear, “Heaven All Around Me” collects every side cut by Willie between 1961 to 1963, when he recorded his final King session. Not every one is an out-and-out masterpiece, but Willie never delivered a substandard performance, even when the material was not inspired. The majority of the tracks here are, however, quite sensational – and all of them show that Willie John was primed and ready for the forthcoming explosion of soul music that he missed due to his incarceration in prison. In particular you should note Willie’s riveting version of Tin Pan Alley standard ‘The Masquerade Is Over’, a powerhouse performance that shows he could turn even the most MOR of songs into an expression of soul at its deepest. ‘My Baby’s In Love With Another Guy’ is another masterpiece demonstrating Willie’s ability to turn trite into torrid. For me, this is where R&B disappears over the horizon, and soul begins. Willie’s versions of country standards ‘Big Blue Diamonds’ and ‘She Thinks I Still Care’ show, too, how at home he would have been in Muscle Shoals or Memphis during the Golden Era of southern soul, had he lived. The CD booklet offers a wealth of unpublished photographs and a label shot for almost every featured track. The notes tell the sad story of Willie’s final years in some detail, and give considerable insight into the personal complexities of the man behind the voice. Along with our previous LWJ CDs, it’s a fitting final tribute to this totally unique talent. By Tony Rounce (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| Little Willie John - Nineteen Sixty Six The Last recording sessions Of one of R&B's Greatest ever voices |
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Ace Records 2008 | CD | 18.00 € |
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| Lou Johnson - Incomparable Soul Vocalist Of all the CDs in all the record companies in all the world, this was the one I had to do. I only fully discovered Lou Johnson relatively late in life, but have been a firm disciple ever since. He became my favourite singer, bar none, and although I like his later southern recordings, it is the disciplined and elegant sides he cut for New York City’s Big Top label that are the pinnacle of soul for me. Hearing ‘Reach Out For Me’ was the catalyst for my conversion, smartly followed by ‘The Last One To Be Loved’, ‘(There’s) Always Something There To Remind Me’ and ‘Please Stop The Wedding’. As a Northern Soul DJ I was already intimate with ‘Unsatisfied’ and got a buzz from playing it every time. It is one of those records that is always in the box, acting as a talisman to ward off the DJ’s recurring empty floor nightmare. If the previous record spun had turned out to be 10 years ahead of its time, ‘Unsatisfied’ was the remedy and earned time to re-group (while considering whether you’d have preferred to be a hod-carrier to a jock). Having relied so heavily on this piece of not uncommon styrene, it was a thrill to hear the alternate take, as discovered on an acetate, which we feature as the ender here. That version was discovered in the mid-80s, around the same time that I snared a brace of Lou’s exquisitely sung ‘The Panic Is On’ acetates, also previously unknown to man. The hunt was on to get Lou’s recordings out there onto CD for us soul people, especially me. The near 20-year wait is indicative of the problems of licensing, although an extreme example. However, that wait lead to more unissued sides turning up in the ensuing years to add to the pair described. We now have a further three tracks that have never appeared on a CD of any description. Working at Ace is rather like getting locked in the sweet shop and probably no other company could have come up with this compilation, as many of the Big Top tapes are missing. Our esteemed director Trevor Churchill had squirreled away a copy of Lou’s Big Top LP, which only ever reached test pressing stage. Featured on it is the track ‘No Other Guy’, which never made it to 45. As we only know of this copy, it was indeed fortuitous that it was in-house. Although primarily a ballad singer, several of Lou’s beatier songs have gained acceptance on the Northern Soul dance scene, notably the powerful ‘Wouldn’t That Be Something’ and his first single ‘If I Never Get To Love You’. Like me, soul fans were noticing what a great body of work this was and further investigation revealed that ‘Park Avenue’ was not a travelogue for a Manhattan ad agency but a wonderfully crafted and vivid description of life in the Big Apple for a fictitious black chauffeur driving his bigwig boss around and having the time of his life. It is exuberance in the extreme. I was thrilled when Lou recounted to me how much he’d enjoyed recording that particular song. 80% of the songs are provided by Brill building dwellers Billy Giant, Bernie Baum and Florence Kaye or the Bacharach and David team. These very successful songwriters (think Dionne and Elvis) loved working with Lou, despite no major hits. Having the backing of the wealthy Big Top label, funded by a very successful publishing firm, meant that the facilities and talent were available to do these works justice. Even when the company edged Lou away from R&B by replacing the raucous gospel-inspired ‘Love Build A Fence’ with French torch song ‘A Time To Love, A Time To Cry’, the result was superb. Even on Lou’s foray to New Orleans with Marshall Sehorn and Allen Toussaint, Big Top’s influence was apparent in the choice of material – ‘Walk On By’. It is however turned into a powerhouse ballad instead of the bittersweet number we already know. Toussaint wrote a suitable and excellent love song for the flip side in ‘Little Girl’ and it is compositions like that, Bacharach and David’s ‘Kentucky Bluebird’ and the beautiful Giant/Baum/Kaye number ‘What Am I Crying For’ that feature so well here. We have assembled a marvellous array of photos and memorabilia for the lavish 24-page booklet to complement David Cole’s excellent interview with Lou from his In The Basement magazine. The recording history of these tracks is looked at in depth and the sound has been given that extra, extra tweak to complete a project from the heart: it is also in our prestigious “Artistry In Soul” series. Lou and his lovely wife Linda have waited patiently for this event and Linda is inordinately proud of her talented husband, wanting the whole world to know of his talent; something we are all very much agreed on. By Ady Croasdell (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Lowell Fulsom - In A Heavy Bag |
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Sundazed Music 2006 | LP | 20.00 € |
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| Luther Ingram - I Don't Want To Be Right The A's and B's of Luther's remaining Ko Ko singles. Unbeatable 60s/70s Memphis Soul from one of the genre's greatest-ever vocalists. |
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Ace Records 2008 | CD | 18.00 € |
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| Luther Ingram - Let's Steal Away To The Hideaway / Do You Love Somebody t’s been a real pleasure to have been the architect of Kent’s four volume Luther Ingram reissue programme. Luther has always been one of my favourites, and it’s a shame that he has seldom received the kind of accolades from the mainstream that his talents as both a singer and a songwriter deserve. His recorded legacy may be relatively small compared to that some some of his peers, but almost all of it is first rate and none of it is less than very good. We’ve now reached the final instalment in the our reissue of Luther’s Ko Ko catalogue, his final two albums for the label on one CD. The songs were recorded between 1974 and 1976 and both albums were released in the eye of Hurricane Disco. Happily they make little concession to what was occupying soul’s mainstream and instead give southern soul fans more than 75 minutes worth of what we like best. There are treats galore here, from mighty 45s like ‘Let’s Steal Away To The Hideaway’ and ‘Get To Me’ to cherised modern soul movers such as ‘Do You Think There’s A Chance’ and ‘Trying To Find My Love’. There’s also a bonus in the shape of the second version of ‘I’ll Love You Until The End’, which we had to omit from our previous Luther 2 on 1 through lack of space. Luther Ingram is in the very best voice of his career, and the sympathetic backing of the Muscle Shoals rhythm section frames that great singing and quality songs – many of which are being reissued here for the first time. Even though disco was slowly exerting a stranglehold on southern soul as a chart force, Luther managed to hit with all the singles that were selected from these albums – surely the ultimate testament to their excellence. It’s hard for me to pick a highlight from this set but if pushed I’d choose the title track from the “Do You Love Somebody” album – a midtempo classic that embodies every positive element of the sophisticated side of southern soul, and one that features one of the most sincere and impassioned of all of Luther’s many great vocal performances. The music Luther Ingram left behind identifies him as one of the best and most important soul men of his time. These recordings – beautifully remastered from optimum sound sources - will sound as good decades from now as they did when they were first released more than 30 years ago. By Tony Rounce (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| Lyn Collins - Check Me Out If You Don't Know Me By Now |
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People | LP | 15.00 € |
