| VA: - The Fame Studios Story 3CD The acronym is F-A-M-E, but it may as well be S-O-U-L. It was a full half-century ago that the recording studio, record label and publishing operation originally known as Florence Alabama Music Enterprises established itself and its trademark sound with the hit recording of ‘You Better Move On’ by Arthur Alexander. In the fifty years since, FAME Studios and its idiosyncratic founder Rick Hall have been at the forefront of the Muscle Shoals Sound. FAME begat the process whereby a little known Alabama backwater would evolve into the very crucible of southern soul, a holy place to where musicians, singers and fans still make a very specific pilgrimage in the hope of experiencing a little bit of the magic behind so many hit records: ‘I’m Your Puppet’, ‘Land Of 1,000 Dances’, ‘Tell Mama’ and countless others. Rick Hall is now a grand old man of the music business, but back in the 60s he was more akin to an enfant terrible, with an unbending will that helped him make it against almost insurmountable odds, matched by an attention to detail that bordered on obsession. There have only ever been a handful of truly self-sufficient producer/engineers in the history of popular music, and Hall is pre-eminent amongst them. Atlantic, Chess and so many other legendary labels flocked to FAME to avail themselves of the sound, the players, the material, and most importantly the vibe that Rick Hall had created. The FAME Studios Story 1961-1973 is an exhaustive three CD set derived from two years’ worth of excavations by the intrepid Ace team at the hallowed FAME vault. The result is a full programme of FAME-related releases slated for issue on Ace, Kent, and BGP over the next couple of years, but the lynchpin is this definitive anthology that focuses upon the halcyon days of the studio and the label. It’s an open-minded, celebratory overview that, across 75 tracks, spotlights both artists and records that are either acknowledged greats, or lesser known – yet no less worthy – entries in the lexicon of soul. The line-up is a virtual Who’s Who of 60s soul, and includes Otis Redding, Aretha Franklin, Wilson Pickett, Etta James, Arthur Conley, Irma Thomas, Joe Tex, Joe Simon, Lou Rawls, Spencer Wiggins and Otis Clay. Deep soul fans will recognise names such as The Blues Busters, Billy Young, Maurice & Mac, Willie Hightower, Bettye Swann, James Govan and many, many others. Special attention is paid to those acts closely associated with the Fame label - Candi Staton, Jimmy Hughes and Clarence Carter - as well as its inestimable stable of writers, producers and players, including Dan Penn, Spooner Oldham, George Jackson and the Fame Gang. And the programme also includes several of the notable pop hits recorded at the studio by the Osmonds, Tommy Roe and Bobbie Gentry, as well as more obscure recordings by the Del Rays, Mark V and Terry & The Chain Reaction. With unprecedented access granted to its tape and photo archive, well over a third of the contents of The FAME Studio Story 1961-1973 are new to CD, and of those, over a dozen tracks are fully unissued – including previously unheard rarities by Otis Redding and Arthur Alexander. The heavily-illustrated package with an 84 page book comes laden with two informative essays and extensive track notes, all of which are based upon fresh interviews with many of the principals involved. If you know anything about soul music, you know FAME, which is why The FAME Studio Story 1961-1973 is an essential purchase. By Alec Palao (Ace Records) |
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Ace Records 2011 | 2-CD | 40.00 € |
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| VA: - The Gary Paxton Story - Hollywood Maverick 32 tracks from 1958-1962 |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - The Golden Torch - The Northern Soul Story Vol. 2 2LP Second installment in our series of Northern Soul compilations. This volume is dedicated to the Golden Torch club, situated in Tunstall, Stoke on Trent. Features 25 tracks from the likes of Major Lance, Little Richard, The Triumphs, Roy Hamilton, Johnny (not yet "Guitar") Watson and many others. Another affordable collection of soul / R&B rarities! Like the other parts in this series, it's pressed on 180 grams audiophile vinyl and is housed in a gatefold sleeve. |
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Music On Vinyl Records 2010 | LP | 29.00 € |
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| VA: - The Music City Story 3CD Ray Dobard’s Music City Records of Berkeley, California, across the Bay from San Francisco, is a catalogue of mythic proportions that has been cherished for decades by a small hardcore of R&B, vocal group and, latterly, soul fanatics. Based on the available evidence – 50-odd 45 and 78rpm releases – and a lot of hearsay and rumour, many have spent hours fantasising about the purported riches in the possession of its famously protective, zealous owner. Ace Records is thus proud to unlock the Music City vault for the edification and entertainment of the world at large with the 3CD set “The Music City Story”, an unprecedented survey of the label’s 25-year operation, and an excellent primer for Ace’s forthcoming genre- and artist-based compilations of Music City material, telling the story with many rare gems from the catalogue and a surfeit of previously unissued goodies. Although Ray Dobard experimented with recording a variety of genres, the legend of Music City is predicated on its role as a premier exponent of black rhythm and blues styles, with a strong regional flavour. Most significantly, the sound of Music City was street. Much of what appeared on the label and lies in its voluminous cache of unreleased recordings can be said to reflect the evolution of black popular music between the early 50s and the mid-1970s. It reflects reality: this is what was heard in clubs and juke joints, at high school auditoria and rec centres, rent parties or literally out on the sidewalk, with all the dissonance and unoriginality that might imply, but matched equally by huge, invigorating dollops of innocence and exuberance, and a surprising amount of inspiration. Amongst the set’s 78 tracks are names familiar to doo wop and blues collectors – the Crescendos, Gaylarks, Rovers, 5 Lyrics, Alvin Smith etc – while behind several others lurk famous names (James Brown, Lou Rawls) or others soon to be famous (Sugar Pie DeSanto, members of Sly & the Family Stone). From the raucous jump blues of Del Graham’s ‘Your Money Ain’t Long Enough’ to the hip street soul of Darondo, the breadth of genres represented is extensive, but the overall emphasis in “The Music City Story” is upon the black vocal group, be it 50s, 60s or 70s vintage. It is the rich seam of Bay Area groups mined by Music City that collectors most closely associate with the label. Dobard had only a couple of minor hits – the 4 Deuces’ popular ‘W-P-L-J’, Johnny Heartsman’s raucous ‘Johnny’s House Party’ – but kept the tape machine running pretty much constantly for much of his quarter-century in the business. It has been many years since as significant a stash as Music City’s has come to light, and accompanying the tantalising musical treats is an extensive, heavily-illustrated sleeve note detailing the label’s history. Given that the late Dobard was notorious evasive, an air of mystery has always surrounded his activities in music, but this is the first time a recounting of the Music City saga has been based upon hard data, rather than supposition. Documents, letters, tape box annotations, discographical notes, session chatter, even recorded phone conversations form a considerable body of evidence, that helps bring into focus what this fiercely independent and pioneering black entrepreneur achieved. Ray was no Dootsie Williams or Jake Porter, but nevertheless, a picture emerges of a fascinatingly complex figure, whose role in the black music scene in the mid-20th century cannot be discounted. As venerable East Bay bandleader Johnny Talbot puts it, “to me, Ray Dobard was the foundation of Bay Area music. There was hardly anyone who did anything later who didn’t bump into Ray, so he had to be a foundation.” By Alec Palao (Ace Records) |
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Ace Records 2011 | CD-Box | 40.00 € |
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| VA: - The Philly Sound Get Down - Funky Philly Instrumentals 25 tracks |
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Funkadelphia Records | CD | 18.00 € |
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| VA: - The Pomus & Shuman Story - Double Trouble 1956-1967 26 tracks |
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Ace Records 2007 | CD | 18.00 € |
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| VA: - The Soul of Spring Vol. 2 24 tracks from 1968-1975 |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - The Street Harmony Revue Vol. 1 23 tracks |
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Crystal Ball Records 2003 | CD | 18.00 € |
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| VA: - The Twisted Wheel - The Northern Soul Story Vol. 1 2LP Music On Vinyl presents the first installment in this delightful series of 4 Northern Soul compilations. The Northern Soul phenomenon was one of the biggest musical movements of the '70s in the UK. At its height, thousands of party people would descend on the clubs and venues of the scene every weekend for all-night parties, driven by high octane Soul music from the previous decade up to the present day. The 4 volumes of this series trace the history of the scene via 4 of the greatest clubs on the circuit (The Twisted Wheel, Golden Torch, Blackpool Mecca and Wigan Casino). These LP's represent the most definitive, best researched survey of Northern Soul 45's ever released, but nearly impossible (or affordable) to collect separately. This volume features rare dancefloor fillers from the likes of Lou Johnson, James Carr, Lee Dorsey, James & Bobby Purify, Al Green and many others. |
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Music On Vinyl Records 2010 | LP | 29.00 € |
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| VA: - The UK Sue Story Vol. 4 26 tracks from 1956-1966 |
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Ace Records 2006 | CD | 18.00 € |
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| VA: - This Is Northern Soul 2CD - The Motown Sound Vol. 1 |
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Universal Music 2005 | CD | 13.00 € |
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| VA: - Westbound - Detroit Northern Soul Second only to Motown in terms of releases and hits in 60s and 70s Detroit, Westbound and its sister label Eastbound hit on a successful formula of cutting rhythm tracks at Willie Mitchell’s studios in Memphis, while adding strings and backing vocals in Detroit. This was mainly employed on the Detroit Emeralds and Denise LaSalle; other hit acts like Funkadelic and the Fantastic Four were recorded in Detroit as were the many smaller acts. With Motown’s acquisition and decommissioning of the Golden World stable of labels in 1967 and the demise of indies like Thelma and MAH’s, there was a lot of talent in the city with few recording outlets. It was in fact one of the old school Detroit soul producers, Mike Hanks, who persuaded record distributor Armen Boladian to try his hand with a new label. For some years I had been toying with the idea of using some of the odd Westbound tracks like the ones by Emanuel Laskey and Jimmy Scott on a Detroit Legends CD. Digging deeper though, it transpired that there were a lot of very good dance tracks, known and unknown, that would warrant a CD to themselves. Having periodically given the Joe Matthews and Eddie Hill tracks featured here a spin on the ole DAT machine and having seen them listed in the Westbound discography, I’m afraid I took them rather for granted as staple Detroit soul releases. In researching this CD further it transpired that the tracks had probably never made it to vinyl, though there is a possibility Joe Matthews’ may have been on a test pressing or demo that has never turned up. That gives this release more importance because these are very good tracks from important local artists, that virtually nobody will have previously heard; as are others featured here. Though Funkadelic were one of the company’s biggest acts, their and their followers’ brand of off-the-wall soul/funk aren’t really cut out for this compilation, with the notable exception of their fine version of the old Golden World classic ‘Can’t Shake It Loose’. Denise LaSalle was a big success but pretty much did her own thing, with her Crajon Productions which came out on other labels - only her own recordings came out Westbound. The Eastbound subsidiary was originally jazz-based and surprisingly two of the best 70s soul tracks I’ve heard recently are provided by ex-Lou Donaldson sidemen Melvin Sparks and Caesar Frazier. The most influential act, vis-a-vis this compilation, was the Detroit Emeralds who had a string of hits and also brought talent to the label and produced and wrote for others. We only have one of their tracks on here as they are covered well on our Westbound CDs and their lilting mid-tempo sound did not particularly fit into that Northern soul ethos. Their protégé Damon Shawn came up with the first version of ‘Feel The Need In Me’ and the one that got the UK DJ plays. His other track on here, also written by the Emeralds’ lead singer Abe Tilmon Jr, ‘Love Love Love’ (not the Bobby Hebb track) is a splendid number with a big orchestral production that should have done much better. There is a different take on the Detroit Emeralds’ ‘I Can’t See Myself Doing Without You’ by the very unknown Bob & Harold, another case of a discography entry without a disc! Similarly the Magictones reading of ‘Till You Decide To Come Home’ is tougher than the Emeralds’ hit version. Best of all however is a master tape of Abe and Denise LaSalle on an unknown groovy duet called ‘Ain’t That Lovin’’. It would surely have launched a new career for the two 70s soul superstars given the chance. We purposely tried to avoid tracks from the still-in-catalogue Westbound CD “The Westbound Sound Of Detroit” CDSEWD 065, which was all vocal groups, but we have picked the best five tracks on there and still managed to find nine new group performances, including a good unissued Magictones and two fabulous slow burners from the New Holidays and the Houston Outlaws. The former’s ‘Maybe So, Maybe No’ has been revived recently by Nu Soul act Mayer Hawthorne; but as Dobie would say ……… the original’s still the greatest. By Ady Croasdell (ACE RECORDS) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - We'll Play The Blues For You 18 biisiä Staxin soulia - mm ALbert King, Little Sonny, John Lee Hooker, Rufus Thomas, Mable John jne |
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Stax Records 2004 | CD | 12.00 € |
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| VA: - Where The Boys Are - The Songs Of Neil Sedaka and Howard Gre Neil Sedaka and Howard Greenfield were the first songwriters to sign with Al Nevins and Don Kirshner’s Aldon Music. ‘Stupid Cupid’, their initial song for the company, was recorded by Connie Francis. It shot up the charts in 1958 and before long Aldon was the most successful music publisher in the USA, with scores of international hits in their catalogue and a stable of writers that included Gerry Goffin, Carole King, Barry Mann, Cynthia Weil and many of the other top exponents of the day. In 2005, Ken Emerson published his book Always Magic In The Air, in which he chronicled the lives and careers of seven eminent New York-based songwriting duos of the Brill Building era. Here at Ace Records, we launched our songwriter series the previous year with a collection of tracks penned by Jerry Leiber and Mike Stoller, the book’s main characters. Since then, the series has expanded to include, amongst many others, six of the writing teams featured by Emerson. With this latest edition, which spotlights the songs of Sedaka and Greenfield, the soundtrack of his book becomes complete. The CD – which also includes a few numbers co-penned by third parties Carole King, Jack Keller, Roger Atkins, Helen Miller and Carole Bayer – comes with a bumper booklet featuring an exclusive interview with Neil Sedaka, who concludes: “Howie Greenfield and I wrote very commercially. Howie was one of the best lyricists in the business. His lyrics were very slick and polished, like tiny, compact novels, self-contained dramas. I think he was very underrated. The critics didn’t like him as much as the public did. The proof of the pudding is in the great two and a half minute songs we mastered. I would usually come with two or three finished tunes. He would choose the tune according to his mood at that moment. I liked to give him a choice. We fought, but we always made up. There were disagreements over phrases or musical notes. I think you have to have those fights. We stayed together for over 30 years. I’m very proud of the many, many songs we wrote together. They’re all my dear children. I still miss Howie a lot.” By Mick Patrick (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 7 After an agonising hiatus of over four years, “Where The Girls Are” is back! Volume 7, an eclectic melange of 26 girl-pop treasures (eight previously unreleased), is brimming with all the requisite “shang-a-langs” and “ronde-rondes” delivered with bouffant-bobbing spirit by a veritable constellation of stars, also-rans and never-weres. Why the Teardrops never became superstars is a 60s mystery, up there with “Who really shot JFK?” and “What sort of parents would name their daughter Sloopy?” The Cincinnati quartet kicks off the proceedings with ‘Tears Come Tumbling’, one of a handful of majestic singles that inexplicably stiffed despite sterling production, shimmering harmonies and heartfelt lead by the late Linda Schroeder Millazo. If you, like me, fondly recall dancing “the doolang” at parties, then you, like me, are delusional. There was no such dance, but that didn’t prevent Andrea Carroll from releasing this insanely catchy song, backed by the Chiffons (who certainly knew their way around a doolang). Andrea provides instruction, so it’s not too late for this craze to sweep some nation, somewhere. Uber girl-group the Shirelles render an obscure cover of the Playmates’ 1958 hit ‘What Is Love’ with a frisky lead by Shirley that finds her dissolving in giggles during the fade. DC soul queens the Jewels weigh in with a revved-up remake of their own Dimension B-side, ‘Smokie Joe’s’, this time with James Brown at the helm. Other big names abound as Marry (sic) Clayton and Barbara Mason step up to the mike for the first time, launching successful careers that continue to this day. Fans of session stalwart David Lasley won’t be surprised by his debut as a member of Shangri-Las clones the Utopias. Erstwhile Blossom Gracia Nitzsche leads the Satisfactions on a counterpoint-laden arrangement of the oft-cut, never issued Mann/Weil classic ‘Woman In Love (With You)’. Chicago’s Lovelites, fondly remembered for their angst-dripping ‘How Can I Tell My Mom And Dad’, are heard two years before that anthem for knocked up, abandoned teens, making their studio bow with ‘I Found Me A Lover’. (And how’d that work out for you, girls?) Brenda Holloway fans (and who isn’t?) will thrill to a heretofore-unheard pre-Motown channelling of Mary Wells, and the Brill Building/Red Bird sound sparkles anew in another never-released Jelly Beans gem. Also new to our ears is an alternate take of Claudine Clark’s mega-hit ‘Party Lights’, on which she double-tracks herself. Obviously, one Claudine was sufficient, thank you, but it’s a kick to hear her duplicate that eccentric vocal. And if it’s quirkiness you seek, the Jaynetts never disappoint. To call Baby Jane and the Rockabyes quirky would be wildly euphemistic. These fair ladies pull out the stopper and kick up a whopper on a mind-roasting, hear-it-to-believe-it assault on the Broadway chestnut ‘Get Me To The Church On Time’, replete with an ear-splitting lead that must have caused no small discomfort to that doggie in the window from their previous hit. This track closes the set. What could follow it? You’re likely unfamiliar with the Penny Sisters, Azaleas, Fashionettes, Zippers, Sparkels and Tandels, but you’ll find they share with all the classic girl groups the same frenetic, thundering, hip-shaking energy that rocked the 60s. I defy you to sit still while listening to this CD. Don’t fight it. Get up and do the doolang! BY DENNIS GARVEY (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Whip ! Wobble ! and Grind ! 1962-1964 |
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Club Harlem Recordings | LP | 18.00 € |
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| VA: - Wigan Casino - The Northern Soul Story Vol. 4 2LP Music On Vinyl presents the final installment in this delightful series of 4 Northern Soul compilations. The Northern Soul phenomenon was one of the biggest musical movements of the '70s in the UK. At its height, thousands of party people would descend on the clubs and venues of the scene every weekend for all-night parties, driven by high octane Soul music from the previous decade up to the present day. The 4 volumes of this series trace the history of the scene via 4 of the greatest clubs on the circuit (The Twisted Wheel in Manchester, The Golden Torch in Tunstall, Blackpool Mecca and Wigan Casino). These LP's represent the most definitive, best researched survey of Northern Soul 45's ever released, but nearly impossible (or affordable) to collect separately. This volume features music from Wigan Casino, which was active between 1973 and 1981, and was voted 'The Best Disco In The World' by Billboard in 1978 ahead of the infamous Studio 54. DJ Russ Winstanley ruled the decks from the opening songs until the final '3 before 8', spinning bangers such as The Jades' 'I'm Where It's At', Otis Blackwell's 'It's All Over Me' and the beautiful 'Time Will Pass You By' by Tobi Legend. |
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Music On Vinyl Records 2010 | LP | 29.00 € |
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| VA: - Wild Thing - The Songs Of Chip Taylor Chip Taylor is the subject of the latest addition to our songwriter-based series. He can boast two career songs – ‘Wild Thing’ and ‘Angel Of The Morning’ – both of which have been recorded countless times and are considered to be among the greatest of their decade. Chip’s collaborations with Ted Daryll, Al Gorgoni, Jerry Ragovoy, Wes Farrell and Billy Vera are no less revered. When Aretha Franklin, Dusty Springfield and Peggy Lee record your songs, you know you’re doing something right. The Troggs open our show with ‘Wild Thing’. The song is indelibly associated with Reg Presley and his cohorts, but Chip was commissioned to write it for the Wild Ones. He doesn’t care for the original, “They took the power of the song and diminished it,” but loves the Troggs’ recording, “A right funky record. You couldn’t beat that. It was like my demo, except they played it with an electric guitar.” (Find the Wild Ones’ version on our recent collection “You Heard It Here First” CDCHD 1204.) To many the most significant recipient of Chip’s compositions is Evie Sands. “She had this honey voice that was one of a kind. How could you ever not love that, every minute, working with her, rehearsing with her, producing her.” Given half a chance we’d have filled this CD with her tracks, but had to narrow the choice to just two – the feisty ‘Run Home To Your Mama’ and her stunning original of ‘I Can’t Let Go’. Three others represent her by proxy: ‘Picture Me Gone’ (in a splendiferous version by Madeline Bell), ‘Angel Of The Morning’ (Merrilee Rush’s hit rendition) and ‘Any Way That You Want Me’ (Evie’s breakthrough song, heard here in a recording by Tina Mason from three years earlier). All but three of our selection were recorded between 1964 and 1968. Closing the proceedings are three of Chip’s most important 1970s compositions: ‘Son Of A Rotten Gambler’ by the Hollies, ‘Blackbird (Hold Your Head High)’ by black country singer Stoney Edwards and Chip’s own recording of the autobiographical ‘(I Want) The Real Thing’. Chip can also be heard as Kathy McCord’s uncredited singing partner. Other highlights include Lorraine Ellison’s ultra-soulful ‘Try (Just A Little Bit Harder)’, the delicious ‘Make Me Belong To You’ by Barbara Lewis, the original demo of ‘Storybook Children’, sung by its co-writer Billy Vera with Nona Hendryx, and Walter Jackson’s version of the oft-recorded ‘Welcome Home’, one of Chip’s favourites. The booklet includes a 7,000-word essay, much of it in Chip’s own words. He comes across as not only one of the greatest songwriters in the business, but also one of the nicest guys. If this compilation sparks an interest in his more recent activities, his book Songs From A Dutch Tour, which comes with a disc of new songs, might be the place to begin. To hear some of the tracks he cut as teenage rocker Wes Voight in the late 50s, check out the Ace CD “King of Rock’n’Roll” CDCHD 975. As we go to press we hear that Chip has been ill. We hope that “Wild Thing” will serve as a get well soon card and help speed the recovery of one of the greatest singer-songwriters of the past 50 years. BY MICK PATRICK (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - You Baby: Words And Music by P.F. Sloan And Steve Barri Together with his writing partner Steve Barri, Phil (P.F.) Sloan effectively invented the concept of the self-contained singer-songwriter (as documented on “Here’s Where I Belong” CDWIKD 277). Sloan & Barri’s songbook was widely plundered for cover versions throughout the 60s and beyond. It’s this side of their work that makes up “You Baby”, the latest in Ace’s songwriters series. Sloan & Barri’s partnership was forged by producer Lou Adler in 1963, though the guys had each already released a number of sides as performers for a variety of labels, with somewhat limited success. Playing off each other’s strengths, they instantly formed a great working relationship, with Sloan as the more experienced musician and Barri as the studio head. From their surf’n’turf beginnings through era-defining folk rock and beyond, “You Baby” maps out a brilliant and fascinating career path packed with pop standards. While their best-known early numbers are hedonistic fun-in-the-sun anthems such as ‘Tell ’Em I’m Surfin’’ and ‘Summer Means Fun’, their remit was wide enough to encompass girl group influences in ‘You Say Pretty Words’ by Ramona King and the latin-tinged sounds of Betty Everett’s ‘Someday Soon’. Meanwhile, they also had to contend with a furious release schedule of their own, recording under a wide variety of guises including the Fantastic Baggys and Philip & Stephan, not to mention their in-demand status as session guys, appearing as musicians or singing backups on many of the tracks compiled here. Sloan had always been the more performance-oriented of the two and when folk rock hit it clearly affected his modus operandi more than Barri’s. The solo Sloan writing credit on hits such as ‘The Sins Of A Family’, ‘Let Me Be’, ‘Take Me For What I’m Worth’ and, of course, ‘Eve Of Destruction’ put a certain amount of strain on the duo. Nevertheless, the years 1965 and 1966 were their most commercially successful. Joyous, euphoric pop still poured out of them. Perfect pop gems such as ‘Can I Get To Know You Better’, ‘You Baby’, ‘Where Were You When I Needed You’ and ‘I Found A Girl’ were all major successes and are all featured here. Inevitably, it couldn’t last. The artistic and commercial pressure they were under – not to mention their increasingly divergent musical paths – forced a premature split. Steve Barri stepped in as replacement for the departing Lou Adler as staff producer at Dunhill, while Sloan’s burgeoning career as a singer-songwriter dissipated, though has recently undergone something of a renaissance. This marvellous collection of classics and rarities should seal Sloan & Barri’s reputation as key chroniclers of their time. By Harvey Williams (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - You Heard It Here First ! 26 classics from the 50s and 60s, heard here in their original, pre-hit versions. |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - You Heard It Here First! Vol. 2 As a concept it’s a revelation – the original versions of (mostly) familiar songs that went on to become big hits by other artists. Familiarity is turned on its head as mental receptors attuned to the better-known hit versions – the received wisdom, if you like – are challenged for attention by the performers who made the original recordings to little or no acclaim. It’s a parallel universe where the reassuringly familiar landscape is a beautiful illusion. Volume 1 of “You Heard It Here First” was among our best sellers of last year and we believe that this sequel is an even stronger package. Here again are pop hits as the soundtrack to our lives – but not as we know them. Many of these original versions are exceedingly rare in vinyl form, notably Dan Penn’s self-penned original version of ‘I’m Your Puppet’ (on which Penn actually sings the line ‘I’m The Puppet’, in contrast to all the versions which followed) and the Corporation’s barnstorming ‘Candida’, subsequently a US #3 for Tony Orlando’s Dawn, though one wonders why the Corporation’s torrid original failed to make the same impact. Tony Joe White’s ‘Polk Salad Annie’, a top 10 hit on the Monument label in 1969, laid down the template for the so-called swamp rock sound and was later popularised by Elvis who had a UK hit with the song in 1973. But for all his seeming self-assurance, White had struggled to make the song work , having cut it for Monument as ‘Old Man Willis’ a year earlier before re-recording it with a fresh set of lyrics as ‘Polk Salad Annie’. Here’s how it sounded before the re-write – a truly intriguing juxtaposition. Most of Brian Hyland’s hits were written for him so it comes as a surprise to learn that his signature tune, ‘Sealed With A Kiss’, had first been recorded some two years earlier by the Four Voices, a clean-cut vocal group. That is the version which displays the apparent debt the song owed to ‘The Green Leaves of Summer’, a big hit of the day. Transmogrified by successive generations of folk and pop artists into ‘Wimoweh’ ‘The Lion Sleeps Tonight’, Solomon Linda’s African tribal chant, ‘Mbube’, must be one of the most misappropriated tunes in post-war pop music, though in recent years Linda began to receive the acknowledgement for his memorable if inadvertent contribution to the pop canon and we are proud to present it here. Sixties wheeler-dealer Simon Napier-Bell and TV maven Vicki Wickham took it upon themselves to pen English lyrics to a contemporary Italian hit, ’Io Che Non Vivo (Senza Te)’ in the back of a cab on their way to an evening meal at a restaurant in London’s West End in early 1966 – or so the redoubtable Napier-Bell has claimed in various autobiographies. Those twenty or so usefully occupied minutes produced ‘You Don’t Have To Say You Love Me’, under which title the song has provided something of a lifelong annuity for the pair. Pino Donaggio’s gorgeous Italian original of this classic power ballad is among the highlights of the set. ‘Sorrow’ was knocked out without much conscious effort as a filler for the McCoys’ first album in the wake of their 1965 mega-hit ‘Hang On Sloopy’. Maybe the producers (who also happened to write the song) missed a trick by consigning ‘Sorrow’ to makeweight status, but no matter as Brit duo the Sorrows took the song into the UK Top 10 a few months later. That was the version that inspired David Bowie’s recording but it’s the McCoys’ stripped-down original which probably packs the mightiest charm of all. The songs, compellingly sequenced, are all hits, the technicolour packaging incorporating all the prerequisite fax’n’info, gives off a warm comforting glow, and the entire concept constitutes a little bit of pop history in the making. What’s not to like? By Rob Finnis (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Zell's Girls 28 tracks collection of rare girlgroup, R&B, doowop and soul sides from Zell's, Baton and Dice recordings 1955-1970 |
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Ace Records 2007 | CD | 17.00 € |
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| Van Dykes - Tellin' It Like It Is - The Mala Sessions Bell LP vuodelta 1966 + 4 bonusbiisiä. Yhteensä 15 biisiä |
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Sundazed Music 2000 | CD | 17.00 € |
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| Velvelettes - The Best Of 19 tracks |
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Spectrum Music 2001 | CD | 10.00 € |
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| Velvets - Complete Velvets 30 biisiä |
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Ace Records 1996 | CD | 18.00 € |
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| Vernon Garrett - I Made My Own World The best of the early solo and duet recordings from this still-active West Coast blues and soul man, including highlights of a live 1964 club date with Vernon's wife, Jewel. If I start this piece by calling Vernon Garrett a journeyman artist, many of you might see that as a criticism of his talents. Not at all, my friends - look in the Penguin English Dictionary and you'll find that the definition of 'Journeyman' is "an experienced and reliable performer". Well, Vernon's still going strong in his sixth decade as a recording artist, and his recorded output has rarely veered towards the land of the unlistenable in all that time, so he's both "experienced" and "reliable" to the ears of soul fans. If the word journeyman, therefore, doesn't describe Vernon Garrett to a 'T' - and in the best possible manner - then I really can't think of one that describes him better. Ace has been reissuing Vernon's recordings for years - both his solo sides and the excellent duets he cut with his late wife, Jewel - through the company's ownership of the Kent/Modern catalogue. Having been a mainstay of the UK Kent compilations catalogue since the early 80s, and having enough good repertoire on him to enable us to do so, we thought it was about time that we compiled the best of his solo and duet sides together in one full-value CD compilation. So we have - and I Made My Own World is the very pleasing result of our endeavours. Although Vernon has several CDs available of his 80s, 90s and most recent recordings, this compilation is the only way for VG collectors to get the best of his 60s and 70s recordings in one place, an earlier Japanese CD anthology being long deleted. It features at least one take of each of his Kent and Modern 45s, some of which differ from the master takes that are available elsewhere on Kent but that are no less enjoyable for not being the masters. It also features several more of the best cuts from Vernon's stupidly rare Grenade album, again to complement those already reissued on Kent. (On several of these, Vernon is backed by a group of musicians that subsequently coalesced into late 70s funk/soul superpowers LTD featuring Jeffrey Osborne.) There are also highlights from a live 1964 Vernon and Jewel club date in Oakland, California that add immeasurably to the pathetically small cache of extant live soul sessions from that decade and that, again, have only previously been available on that long-deleted Japanese CD. And to top all this off, we located a previously unheard R&B mover from the Running Out session, I'm Guilty, that'll be guaranteed to get all the New Breeders 'at it' instantly. Oh, and did I mention that, as a bonus, we're giving the first legal release to the storming instrumental track - previously only available as one side of a bootleg 45 - to Vernon's Northern classic If I Could Turn Back the Hands Of Time here? As well as all this great music, Vernon has been specially interviewed for the sleevenotes, by respected West Coast R&B authority Steve Propes, and Steve's notes tell the Vernon Garrett story in far greater detail than has ever been published before. Hey, is this a good CD or what? The fine recordings that make up I Made My Own World prove that Vernon Garrett could and should have been more of a contender than history shows him to be. From top to bottom, this is first rate 60s and 70s soul from a singer who, given a few better breaks and a different set of circumstances, could have been as big as any one of his contemporaries in soul music. Still, it's never too late for success to come knocking, and this "experienced and reliable" artist continues to play to appreciative audiences in his twin strongholds of Southern California and Northern Texas, having really made his own world among his fan bases in both places. He's also released several newly recorded albums over the past decade and a half - and we at Ace are more than a little happy to add our own fine contribution to his CD catalogue with this most excellent collection. by Tony Rounce (Ace Records) |
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Ace Records 2003 | CD | 17.00 € |
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| Vibrating Vibrations - The Okeh And Epic Singles 1963-1968 First CD release of this seminal Los Angeles vocal group's best mid-60s Okeh and epic singles in one package. Includes many of the early classics of the Northern Soul scene - plus five previously unreleased recordings. |
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Ace Records 2008 | CD | 18.00 € |
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| Vicki Anderson - Wide Awake In A Dream On more than one occasion James Brown said that Vicki Anderson was the most talented of the several fine female vocalists he recruited into his revue over the years, which probably didn’t go down too well with Bea Ford, Yvonne Fair, Anna King, Marva Whitney, Lyn Collins or Martha High. Reciprocally positive about James Brown’s outstanding achievements and the benefit of his patronage, Vicki has never been quite so complimentary about the man himself. On joining Brown’s revue in 1965 she opted for the warmer companionship of his longtime musical foil Bobby Byrd, whom she went on to marry – a truly united relationship (which they later dubbed Byrd’s Nest) unto Bobby’s death in 2007. Over the last 20 years Vicki has received accolades for the funky stuff she recorded in the 70s. She did indeed front some striking funk anthems, even if they were generally recorded outside her natural vocal comfort zone and she didn’t get to perform them on stage at the time. This 23-tracker, on the other hand, finds Vicki displaying her gospel roots with her 60s soul dress on. The earliest two tracks, recorded in her home state of Texas in 1964, were produced by Walter Whisenhunt and reputedly first released on his local Whiz label. (If you’ve ever seen a copy you must be a keen-eyed hunter.) The 45 resurfaced on US Fontana after Vicki joined Brown’s revue. Two 1968 tracks were recorded by Bobby & Vicki in NYC for ABC during a breakaway from the revue. All other tracks, a couple of them previously unissued, were recorded under the James Brown Productions umbrella, although whether JB had much to do with some of them is debatable. Band members Bud Hobgood and Dave Matthews often fulfilled those duties while the boss was otherwise engaged. Although I’ve had most of these recordings on 45s since nineteen hundred and don’t ask, re-listening to them again in one hit on CD has been something of a revelation. They’re not all wonderful. For instance, duetting on an inappropriate upbeat orchestration of ‘Let It Be Me’ both Vicki and JB lose the plot, which I’m sure was his fault, not hers. Overall, though, it’s a real ear-opener. Particularly the slower, more romantic songs where Vicki is as soulful as you need to know and illustrates that if she’d been signed by, say, Atlantic Records, she might now be a household name. James Brown never got around to releasing an album by Vicki Anderson. Ace Records have finally done her proud. By Cliff White (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Wayne Cochran - Get Down With It ! Georgia born Wayne Cochran - the blue-eyed soul sensation who influenced Otis, Redding, Elvis and The Blues Brothers. The white knight of soul music. Recordings from 1959-1972 |
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Raven Records | CD | 20.00 € |
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| Wilbert Harrison - Let's Work Together album from 1969 |
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Acrobat Music 2003 | CD | 10.00 € |
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| William Dell And Wee Jams - It Ain't No Big Thing / A Precious Love |
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Stacy's Golden Wax | Single/EP | 5.00 € |
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| Wilson Pickett - Don't Knock My Love This 1971 album was Wilson's last for Atlantic, and was really his last great record, as the title cut scored his final #1 hit on the R&B charts. But for some reason this baby has NEVER come out on CD, so this new exclusive marks both a long-awaited CD debut and the addition of another legend to our 'Collectors' Choice Music' label roster! This is hard-driving soul as only Pickett could pound out; includes 'Covering the Same Old Ground; Don't Knock My Love Pt. 1; Fire and Water; Hot Love; Mama Told Me Not to Come; Not Enough Love to Satisfy; Pledging My Love; Woman Let Me Be Down Home; You Can't Judge a Book by Its Cover', and '(Your Love Has Brought Me) A Mighty Long Way'. Gene Sculatti supplies the notes |
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Collectors Choice Music 2009 | CD | 13.00 € |
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| Wilson Pickett - Original Album Series 5CD 5CDs |
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Rhino Records 2010 | 2-CD | 25.00 € |
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| Wilson Pickett - The Best Of 12 tracks |
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Atlantic Records | CD | 10.00 € |
