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Result of your query: 449 products

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VA: - Oldiebörse - Cover Und Original
30 biisiä - originaali ja cover versioita tunnetuista hiteistä.
Bear Family 2008 CD 17.00 €
VA: - Phil's Spectre III - A Third Wall Of Soundalikes
Purists might argue that Phil Spector’s work is inimitable, but that has never stopped the legions of his disciples from doing their damnedest to duplicate it, often very convincingly, as illustrated again in this, the third installment in our “Phil’s Spectre” series.

The collection actually does triple duty, being not only A THIRD WALL OF SOUNDALIKES, as its subtitle declares, aimed at Spector devotees, but also offering plenty to the overlapping fan bases of Jack Nitzsche enthusiasts and Northern Soul aficionados.

The work of Spector’s revered Arranger-in-Chief, Nitzsche, is covered in our “The Jack Nitzsche Story” series, and he has his hand in three further stunning examples here. The Satisfactions’ re-recording of Hale and the Hushabyes’ version of Yes Sir, That’s My Baby has a remixed backing track that drops the bass vocal and trades Edna Wright’s lead for Gracia Nitzsche’s. Daniel A Stone turns in a soulful cover of the Spector-Pomus tune Young Boy Blues; both numbers are heard here for the first time. And in Judy Henske’s Let The Good Times Roll (which appears in a previously unissued alternate mix), Nitzsche manages to out-Spector the master’s own production of Bob B Soxx and the Blue Jeans’ rendition of the song.

Jerry Ganey’s celebrated and impossible-to-find double-sider is a perfect example of Wall of Sound meets Northern Soul; after years of licensing challenges, we’re able to open and close this collection with the two knockout tracks. Northern fans will also flip for the Dan Folger and Barbara Jackson cuts. The Ashes’ Is There Anything I Can Do and The Kit Kats’ That’s The Way bring the signature Spector sound to the folk-rock genre.

Spector’s work with the Righteous Brothers ranks among his most sublime, and has inspired just as many wannabes as the steamrolling sonic assaults, such as Da Doo Ron Ron, for which he’s better known. The duo itself is spotlighted here, as on the two previous volumes, along with highly derivative tracks by George ’n’ Sonny Sands and Jerry Ganey, both of whose contributions were written and produced by Brother Bill Medley.

If you prefer your faux Spector at a more galloping pace, there’s a veritable stampede on offer, and for the most part it’s the gals’ turn here. High-velocity records legendary (and generally unaffordable) in the concentric circles of girl-group and Spector collectors include those by the Castanets, Alice Wonder Land, Merry Clayton, the Girlfriends, and Alder Ray.

This latest installment of the “Phil’s Spectre” saga has it all: rarities, hits, drama, excitement, a thorough and lushly-designed booklet with notes by Mick Patrick, and, most importantly, some of the most compelling music you’ll ever hear. Because of the amount of studio time his perfectionism demanded, Phil Spector was only able to produce a relatively small number of masterpieces in his time. Thanks to the power and influence of those records, though, those in his sway have added innumerable contributions along the way, and the music lover’s world is a much better place for it.

By David A. Young (Ace Records)
Ace Records 2007 CD 17.00 €
VA: - Piccadily Story 2CD
52 biisiä
Sequel Records 1993 2-CD 20.00 €
VA: - Pop in Germany Vol. 1
Bear Family 2001 CD 17.00 €
VA: - Pop in Germany Vol. 2
Bear Family 2001 CD 17.00 €
VA: - Pulp Fiction
MCA Records 1994 CD 10.00 €
VA: - Revival - Brunswick Stew & Pig Pickin'
17 tracks
Yep Roc Records 1997 CD 15.00 €
VA: - Rock Hits Of The Sixties
16 tracks 60s rock
Chekaway Publishing CD 18.00 €
VA: - Rock'n'Roll Highschool
soundtrack: Chuck Berry / Alice Cooper / Todd Rundgren / Brownsville Stations / Ramones / Nick Lowe / Brian Eno etc
Sire Records CD 9.90 €
VA: - Rubble Vol. 5 - Electric Crayon Set 2LP
limited edition 1000 numbered. All new liner notes. deluxe gatefold sleeve
Forlp LP 17.00 €
VA: - Sassafras & Moonshine The Songs Of Laura Nyro
Laura Nyro was famous for serving guests tuna fish sandwiches, her culinary repertoire being slim. I returned the favour: because I knew she’d named her publishing company Tuna Fish Music, I brought her a tuna fish sandwich backstage at the Troubadour in1969.

Yes, I was an embarrassingly diehard fan of the singer-songwriter, one of those young college women (along with more than a handful of men) who mooned over her and her music. She was so passionate, so soulful, so womanly. We were girls still; she seemed to have already unlocked secrets of grownup life and love, even though she was only a couple of years older. She had something to teach us and we were eager to learn.

It didn’t matter if we could understand her elusive lyrics; we felt them. Sassafras and moonshine? That felt to me like being high on liquor and a spice-filled sky. Buckles off shingles / off a cockleshell on Norway basin. That felt exotic and old-fashioned, all at once. Laura led us through a sensory wonderland and we followed, enchanted.

And her music: it burned, it soared, it shuffled, it vibrated. She whispered, she belted, she screamed at times. And we adored every measure.

So, it seemed, did many of the musicians of her time. Everyone wanted to record a Laura Nyro song, from Peter, Paul & Mary to the 5th Dimension, from jazz instrumentalists to all the other artists in this collection. Laura’s songs were gold – even if her own recordings never made a big commercial splash.

And scores of other musical artists who didn’t record Laura’s songs were extraordinarily influenced by her. As singer-songwriter Wendy Waldman told me, Laura liberated musicians to employ all their influences in crafting a pop song – just as she had combined jazz, folk, classical, 60s soul, the Beatles, Dylan and Tin Pan Alley. “All of the great songwriters have combined certain elements, maybe three at a time,” said Waldman, “but [Laura] would combine ten of them. It was so ahead of its time that it’s still ahead of its time.”

Those of us who loved her music worshipped her transcendent performances as well as her brilliant recordings. I was lucky enough to see her more than a dozen times, sometimes sitting just steps away from her as she pounded out her syncopated piano rhythms in a small club. She was like a shaman holding court in the early days of her career; in later years she was a wise and welcoming earth mother, enveloping us with her resonant vocals.

On a hot August night this summer, Laura came back to her hometown,New York City, even though she’s been gone from us since her death in 1997. But Lincoln Center brought her back to life by sponsoring an outdoor tribute concert, featuring artists who variously knew, loved and worked with Laura. Her brother Jan Nigro sang ‘And When I Die’ – the precocious composition Laura wrote in her teens – while her son Gil Bianchini performed a rap to ‘Eli’s Comin’’. Felix Cavaliere of the Rascals, who produced one of Laura’s albums, sang the summer-ready ‘Blowin’ Away’, while Nona Hendryx and Sarah Dash – two-thirds of Labelle – performed several songs off their classic Nyro collaboration “Gonna Take A Miracle”. Melissa Manchester introduced ‘Stoned Soul Picnic’ by reminding us that Laura had asked a question no one had heard before: “Can you surry?”

I was a teenage fan again in the muggy New York twilight, a wide smile stuck to my face. How perfect to hear that music in the city that shaped it – the city that Laura showed us to be, as Bette Midler put it when she inducted her into the Rock & Roll Hall of Fame this past spring, “an extraordinary place to be young, alive and in love”.

But I was also that grown up woman now; I had even written a biography of Laura Nyro ten years earlier. Nonetheless, when someone’s music touches you so deeply, is engraved forever on your young heart, you can easily return to the age you were when you heard it the first time.

I suggest that New York City hold a Laura Nyro night every summer from now on. I’ll be there, ready to surry on soul. And if I wasn’t a vegetarian, I’d be eating a tuna fish sandwich while the music played.



By Michele Kort (Ace Records)
Ace Records 2012 CD 18.00 €
VA: - Seventeen And A Half is still Jailbait
17 biisiä mm Electrick Frankenstain, Grey Spikes, Panty Boy, Bonk, Anal Babes Brand Of Shame etc
Demolition Derby 1997 CD 9.90 €
VA: - Sing Me A Rainbow - A Trident Anthology 1965-67 2CD
Mid 0s San Francisco had its own Brill Building in North Beach's Columbus Tower, home of Frank Werber's Trident Productions. This is the brief but fascinating story of the Trident stable, filled with great pop, garage and SF folk rock sounds
Ace Records 2008 CD 25.00 €
VA: - Standing In The Shadows 2LP
A Tribute to the golden days of the Rolling Stones 1963-67
Corduroy Records 2002 LP 25.00 €
VA: - Stora Schlagerboxen Vol. 2 4CD
Denna lyxiga 4 CD-box är uppföljaren till vår populära, slutsålda, första volym av Stora Schlagerboxen! Även denna gång har vi valt 100 av de schlagersångerskor och grupper som presenteras i Stora Schlagerboken. Bland dessa finns även några vassa från DK, N och SF!

4 tidigare outgivna låtar kryddar boxen som bonusspår!

Varje artist, oavsett popularitet, presenteras med endast en låt vardera. På så vis får vi äntligen höra många artister som aldrig annars spelas i vare sig radio eller funnits utgivna på CD.

En påkostad 48-sidig booklet i färg medföljer - med massor av memorabilia och tidigare ej visade fotografier. Stora Schlagerbokens författare Hans Olofsson har skrivit låtkommentarer till samtliga spår.

Boxinfo:
På svenska
48 sidor booklet
Illustrerad i färg
Hardcover, 125x280 mm
Prenium Publishing 2008 CD-Box 45.00 €
VA: - Straight To Hell Returns: Original Soundtrack
28 biisiä - cult offbeat spagetti western leffan soundtrack vuodelta 1987
Ace Records 2004 CD 18.00 €
VA: - Stuff This In Your Stocking ! Elves In Action
XMAS TIME W/ PINKSLIPDADDY,RUSSTOLMAN...
Veebltronics Records 1990 CD 17.00 €
VA: - Summer Turns to Autumn
British indie label Ember released a number of rock albums and singles between 1969 and 1972, which today are much sought after by collectors of psychedelic, progressive and folk rock sounds. Many of the best of these are gathered on Summer Turns To Autumn, the companion to Looking Towards The Sky (FVCD041).

Foremost among the artists compiled here is progressive rock band Blonde On Blonde, represented by tracks from both of their Ember albums. Fantastic Voyage has salvaged two tracks from Blue Beard’s album. An early songwriting/production project for Bob Welch, who next surfaced in Fleetwood Mac, the album was only released in Italy, but the single Sly Willy was more widely available and is highly prized by collectors of funky rock.

Tyrannosaurus Rex-style acoustic hippy duo Knocker Jungle and progressive folk group 9.30 Fly each managed one now highly collectable long player for the label. The remainder of the material ranges from the fuzzy psychedelic rock of Canadians The Dorians and the melodic folk rock of Paddy Maguire, backed by heavy friends Steve Winwood and Jerry Donahue (of Fotheringay), to the soul-rock fusion of Milt Matthews Inc, here interpreting a Blind Faith song, and a previously unissued folk rock rendition of East Virginia by Polly Niles.

Summer Turns To Autumn and Looking Towards The Sky complement Fantastic Voyage’s existing, highly popular compilations of Ember Beat and Ember Pop, with no duplication of tracks.
Fantastic Voyage 2010 CD 9.00 €
VA: - Super K Kollection Vol. 1
Collectables CD 13.00 €
VA: - Take My Tip - 25 British Mod Artyfacts From The Emi Vaults
Emi Records 2007 CD 15.00 €
VA: - Tee-Vee Tops
Die Songs und Originale aus der TV-Werbung.
18 tracks
Gee Dee Music 1996 CD 12.00 €
VA: - The Hit List - 24 Hot American Chartbusters Of the 1970s

Long term Ace buyers will be well acquainted with our acclaimed "Golden Age Of American Rock'n'Roll" series - all ten volumes and special editions. We've also done rather well with our currently-smaller-but-just-as-perfectly-formed companion series "Chartbusters", which picks up the 60s from where GAARR leaves off. This is a debut that aims to do for the 1970s what these series have done for their respective decades. Welcome to THE HIT LIST.

Many will tell you that the 70s represent a musical wasteland that bore only rotten fruit from one end of the decade to the other. But "many" couldn't be more wrong if they tried to be. There were rotten records throughout the 70s, as in every other decade before or since. But it's hoped that "The Hit List" will show that some of the most fantastic pop, rock and soul music ever created was made during its 10-year timespan and, in doing so, will increase that decade's level of respect among those who still doubt.

For yours truly, the 1970s represent the last golden era for American music, the last one in which AM radio was still king of the board and the 45 rpm 7 inch single was still its most effective pawn. As they had done in the preceding decades, stations adventurously programmed hard funky soul next to heavy metal, and the latest bubblegum pop rubbed along comfortably with more thoughtful examples of what would later come to be known as "adult oriented rock". It was a time when a listener could still distinguish a record made in Detroit from one made in, say, Miami. A time when records like Joe Tex' 'I Got'Cha' or Jean Knight's 'Mr Big Stuff' could break out of the urban market to garner the kind of Top 40 radio play it took to sell enough copies to make #2 on the Hot 100 back then; and it was a time when the majority of record buyers were still quite content to return from their shopping trips with the latest efforts by the Rolling Stones, the O'Jays and Waylon Jennings all in the same record bag, and all purchased for the same person. Top 40 radio stations still played everything, and the people who listened bought everything without compartmentalising what they were buying. Just the way it ought to be even now and sadly isn't.

"The Hit List" offers a strong cross section of superior pop from, mostly, the first half of the decade, and concentrates only on recordings that made the US Top 30. In fact, it really concentrates on Top 20 hits - only two of its 24 inclusions peaked between #20 and #30. The vast majority of the songs here ended up at or near the top, and all were fully deserving of their success regardless of their musical diversity.

And when you talk of 'diversity' there's plenty of it here! In the course of its 78 minutes "The Hit List" includes examples of classic East and West coast pop (Hamilton, Joe Frank & Reynolds, Tommy James); soul both blue-eyed (Looking Glass, Lulu, Delaney & Bonnie) and brown (Malo, Redbone); music with a message (Jonathan Edwards, Joe South); hard rock (Guess Who, Rare Earth); soft rock (Sammy Johns, Seals & Crofts); country rock (Billy Swan, Anne Murray, Jim Croce) and latin rock (Santana). Songs about cannibalism (the Buoys) and commercialism (Raspberries) and pretty much anything else that falls within the boundaries of decency. In the true traditions of rock'n'roll, some of the artists had careers which continue to this day (Anne Murray, John Sebastian, Carlos Santana), others had careers that were over almost before they had begun (Sammy Johns) and a few were taken from us far too soon (Jim Croce, B W Stevenson). Whatever fate had in store for all those featured, everyone concerned can be proud of their contributions to "The Hit List" and can rest easy in the knowledge that their contribution to a decade's worth of exciting, invigorating music is both significant and permanent.

Some of the best music ever made, brought to you the Ace way with copious annotation and a wealth of pictorial support. "The Hit List" 100% pleasure, no guilt.

by TONY ROUNCE (Ace Records)
Ace Records 2004 CD 17.00 €
VA: - The Ramones Heard Them Here First
There’s no mistaking a Ramones song. The funny thing is, throughout their career, the band paid tribute to their roots and influences by peppering their albums with versions of their favourites by other artists, making them sound like Ramones songs too. To see what I mean, try listening to this CD without lurching into ‘Blitzkrieg Bop’, ‘Carbona Not Glue’ or ‘I Wanna Be Your Boyfriend’.

Sequenced in the order in which the Ramones cut the songs, this collection kicks off with Chris Montez’s original of ‘Let’s Dance’, which the band revived on their debut album “Ramones” in 1976.

In some instances, rather than be pedantic about original versions, some songs are included in the renditions first heard by the Ramones. Hence ‘California Sun’, featured on their second album “Leave Home”, is heard here by the Rivieras (not Joe Jones); ‘Surfin’ Bird’ and ‘Do You Wanna Dance’, from 1977’s “Rocket To Russia”, are by the Trashmen and the Beach Boys (as opposed to the Rivingtons and Bobby Freeman); and ‘Needles And Pins”, from their fourth LP “Road To Ruin”, is by the Searchers (rather than Jackie DeShannon).

In 1978 the guys teamed up with the Paley Brothers for an update of Ritchie Valens’ ‘Come On, Let’s Go’, a childhood favourite of Joey Ramone; the band’s 1980 album “End Of The Century”, produced by Joey’s hero Phil Spector, contained a revival the Ronettes’ ‘Baby I Love You’; and in 1982 Joey got together with Holly (of Holly & the Italians) to cut a version of Sonny & Cher’s ‘I Got You Babe’.

‘Little Bit O’ Soul’, here by the Music Explosion, and ‘Time Has Come Today’ by the Chambers Brothers were both revamped by the band on 1983’s “Subterranean Jungle”. The sessions also yielded a version of the 1910 Fruitgum Co’s ‘Indian Giver’, which sneaked out on the B-side of a 12-inch single in 1987.

In 1993 the Ramones released “Acid Eaters”, an entire album of cover versions, represented on this CD by Jan & Dean’s ‘Surf City’, the Troggs’ ‘I Can’t Control Myself’, the Byrds’ ‘My Back Pages’, the Seeds’ ‘Can’t Seem To Make You Mine’, Max Frost & the Troopers’ ‘Shape Of Things To Come’, the Amboy Dukes’ ‘Journey To The Center Of The Mind’, Jefferson Airplane’s ‘Somebody To Love’ and Love’s ‘7 And 7 Is’. TheJapanandBrazileditions of the album also contained the band’s version of the Beach Boys’ ‘Surfin’ Safari’.

“Adios Amigos”, the Ramones’ farewell album of 1995, included their version of Tom Waits’ ‘I Don’t Wanna Grow Up’. Waits repaid the compliment by contributing a cover of the band’s ‘The Return Of Jackie And Judy’ for the Ramones tribute album “We’re A Happy Family”. It’s not every day that one band records a tribute to another, but Motorhead did just that with ‘R.A.M.O.N.E.S.’ on their 1991 album “1916”. In return, the Ramones’ own version of the song was included on theJapanedition of “Adios Amigos”.

The set concludes with the Stooges’ ‘1969’ and, poignantly, Louis Armstrong’s ‘What A Wonderful World’, as covered on Joey’s solo album “Don’t Worry About Me”, released in 2002, by which time he, Johnny and Dee Dee were dead. The Ramones were no more. See, poignant.

By Mick Patrick (Ace Records)
Ace Records 2012 CD 18.00 €
VA: - Today's Top Girl Groups
Pebbles, Sit N Spin, Diaboliks, Godzillas, Poontwang, Holly Golightly, Neanderdolls, Mean Geanies, Bobbyteens, 5678s, Prissteens etc
Spinout Records 1998 CD 17.00 €
VA: - Treating Her Wrong
24 Sweetheart & Heartbreak Songs
Jasmine Records 2006 CD 12.00 €
VA: - Turban Renewal - A Tribute To Sam The Sham & The Pharaohs
26 tracks
Norton Records 1994 CD 17.00 €
VA: - Vamps Et Vampire - The Songs Of Serge Gainsbourg
This latest edition in our Songwriter series spotlights Serge Gainsbourg, one of the greatest icons of Gallic pop culture. “The image of beauty and the beast, the Rive Gauche provocateur arm-in-arm with the ravishing icon, was a recurring feature of Gainsbourg’s career,” once observed Malcolm McLaren, a man not unfamiliar with the power of provocation. Spanning the entire Gainsbourg canon, our collection ranges from existential chanson to yé-yé and beyond – performed, appropriately, by a stellar all-female cast.

Had Gainsbourg got his way, Marisa Berenson would have become his co-star in Slogan. Fortunately for him, Jane Birkin landed the role. After some frosty early encounters, they soon became inseparable. Reluctant at first, Jane agreed to record what became Gainsbourg’s biggest-ever hit. It was B-sided by ‘Jane B’, conspicuous for a lyric lifted from her passport and a melody mooched from Chopin. Also here is the pun-laden ‘Con C’est Con Ces Conséquences’ from “Baby Alone In Babylone”, the fifth of the seven albums to emanate from their partnership.

Jane Birkin aside, the performer with the most Gainsbourg songs in their catalogue is Zizi Jeanmaire. Many of those songs were written specifically for her stage shows, notably the 1972 production Zizi Je T’Aime. ‘Vamp Et Vampire’, our title track, is from “Bobino”, a 1977 album comprising almost entirely Gainsbourg compositions.

His long-term relationship with Jane notwithstanding, Gainsbourg’s highest profile liaison was with Brigitte Bardot. They became an item during the sessions for 1968’s Le Brigitte Bardot Show TV special, represented here by ‘Harley Davidson’ and ‘Contact’.

From his earliest days as a jobbing musician Gainsbourg hankered for his songs to be performed by Juliette Gréco, the black-garbed embodiment of bohemian Gallic cool. She eventually recorded many. ‘La Javanaise’ and ‘Strip-Tease’, featured here, are from her eighth album, issued in 1963.

Prior to France Gall recording Gainsbourg’s songs his name had not featured on a big hit record. They might come across as cute yé-yé trifles, but ‘Poupée De Cire, Poupée De Son’ and ‘Les Sucettes’ are custom-penned songs threaded with typical Gainsbourg wordplay and double meanings.

‘L’Anamour’ and ‘Comment Te Dire Adieu’ are the earliest of the six Gainsbourg songs in the vast catalogue of Françoise Hardy. ‘Comment Te Dire Adieu’ was first recorded by veteran American singer Margaret Whiting as ‘It Hurts To Say Goodbye’ but it was the hipper instrumental version that attracted Françoise. Her manager suggested asking Gainsbourg to write a French lyric, which he duly dictated over the phone to Françoise while she was staying at the Savoy in London.

The CD closes with ‘Laisse Tomber Les Filles’ by April March, one of the most ardent latterday champions of Gainsbourg, whose songs are paramount in her early discography. Some she recorded in both their original French and with her own English lyrics. ‘Laisse Tomber Les Filles’ thus became ‘Chick Habit’, as which it reached a mass audience in the soundtrack of Quentin Tarantino’s Death Proof.

In addition to the customary track commentary, the 24-page booklet features a fascinating essay by Gainsbourg biographer Alan Clayson and a foreword by April March.

By Mick Patrick (Ace Records)
Ace Records 2014 CD 18.00 €
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)
Ace Records 2010 CD 17.00 €
VA: - You Heard Them Here First - Rock's Icons Before They Were Fa
Everyone has to start somewhere, even famous rock stars. Not many of them achieved stardom with their first record. That’s the theme of “You Heard Them Here First”, a collection of two-dozen cuts by big name acts, all recorded before anyone knew them from Adam.

Take Arthur Lee, wigged-out lynchpin of the band Love, who in his early dues-paying days briefly fronted an obscure instrumental combo. The MGs were a big noise in Memphis, but few folk in Los Angeles got to hear the L.A.G.s. Now’s your chance. Or Marty Balin, who, long before Jefferson Airplane took off, tried his hand at teen idol-dom, seemingly unaware the world already had a Gene Pitney, a Ricky Nelson and a Bobby Vee. Who knew?

Everyone knows the Righteous Brothers, but not many are familiar with Bill Medley’s previous group the Paramours, blue-eyed Coasters clones extraordinaire. Motown kyboshed the Mynah Byrds’ chances of stardom by cancelling the release of their single; no one knew who Neil Young and Rick James were at the time. Young’s later back-up band Crazy Horse recorded in earlier guises too, amongst them the Rockets, while the Beefeaters osmosed into the Byrds, Ry Cooder and Taj Mahal started out in an unknown group named the Rising Sons and Gram Parsons cut his teeth in the International Submarine Band. Bob Dylan knew a good thing when he heard it and he heard it in Levon & the Hawks, who teamed up with him and changed their name to the Band. The Pigeons found few takers until they slowed things down and re-launched themselves as Vanilla Fudge. Hear all these bands here.

Danny Lee, anyone? We know him now as genius songwriter Dan Penn. What about Link Cromwell? Where would Patti Smith be without Lenny Kaye? How does Mark Robinson grab you? Just a quick listen is all it takes to identify the unmistakeable bass voice of Lee Hazlewood. Nilsson’s first chart record dates from 1969, but he’d been scratching around in the music biz for years by then, writing songs for the Ronettes, singing demos for Little Richard and recording singles under pseudonyms like Bo Pete.

Collectors will tell you it’s invariably the records made by well-known artists before they were famous that are the hardest to find and the most expensive to buy. Expect to fork out over £500 for an original copy of ‘Liza Jane’ by Davie Jones with the King Bees, the fabled first single released by the lad who grew up to David Bowie, for example. By purchasing this CD, you save yourself a small fortune and get pre-fame recordings by Lou Reed, Joe Cocker, Cher, Mike Nesmith, Peter Frampton, J.J. Cale, Warren Zevon and P.F. Sloan thrown in for good measure.
BY MICK PATRICK (ACE RECORDS)
Ace Records 2009 CD 17.00 €
Veltto Virtanen - Tahdon
vanha LP vihdoin CD. Mukana 6 bonusbiisiä.
Zum Teufel 2006 CD 15.00 €
Velvet Underground - Loaded
1970 album now on CD
Warner Music CD 10.00 €
Velvet Underground - The Velvet Underground
180 gram vinyl
MGM Records LP 15.00 €
Vibrators - Pure Mania
Sony CD 18.00 €
Vince Taylor - I'll Be Your Hero
tracks from 1958-1959 and 1973
Eva Records CD 10.00 €
West Coast Pop Art Experimental Band - West Coast Pop Art Experimental Band Vol.1
The very first WCPAEB album reveals the folk ‘n’ fuzz roots of a combo that was soon to get really bent. 22 track CD and double LP gatefold editions including loads of unreleased nuggets and a sluicebox of unseen photos!
Sundazed Music 1997 CD 18.00 €
Whitesnake - Saints & Sinners
EMI CD 7.90 €
Wigwam - Fresh Garbage - Raritis 1969-1977 2CD
Love Records 2000 CD 17.00 €
Wigwam - Titans Wheel
finnish rock
Emi 2002 CD 9.00 €
Willie Logan - Tunes For Guitar Slingers
15 new "knock-em-dead" rock & blues virtuoso guitar instrumentals
Rollercoaster 2002 CD 19.00 €
Willy DeVille - Live In Paris And New York
With his mariachi-flavoured take on ‘Hey! Joe’ high in European charts across late 1992 and early 1993 and his “Backstreets Of Desire” album (now available on Ace) shifting over 300,000 copies, Willy DeVille found himself, after many years of struggle, a genuine star across the Continent. Success brought larger audiences and more extensive tours, something DeVille had long strived for. A tall, striking-looking man who dressed like a 19th Century riverboat gambler with a pencil moustache, long, swept back black hair and extravagantly tailored suits, shirts, shoes and ties, Deville commanded the stage, singing with a rare candour and expressiveness. As he was now playing to new audiences who were largely unaware of his Mink DeVille recordings, his French label FNAC decided to service the new fans with a live hits album.

Philippe Rault, the French producer who had overseen “Backstreets” (and produced ‘Hey! Joe’), took control. He decided on the Bottom Line in New York, so to pay tribute to the city in which DeVille had honed his craft, and the Olympia in Paris, the city that made him a star. With the success of DeVille’s New Orleans recordings (see Ace’s “Willy DeVille In New Orleans” CD), Eddie Bo and three of the Wild Magnolias (Chief “Bo” Dollis, Chief “Monk” Boudreaux and Norwood “Gitchie” Johnson) were invited to join proceedings.

The songs performed range across DeVille’s recording career with only ‘Hey! Joe’ and ‘Bamboo Road’ being from “Backstreets”. His interpretations of ‘Spanish Stroll’ and ‘Mixed Up, Shook Up Girl’ match (and possibly even better) those cut with Jack Nitzsche on Mink DeVille’s debut album “Cabretta”. Freddy Koella, the gifted French guitarist who joined DeVille in New Orleans in 1990 and would stay with him until 2002 (upon which he joined Bob Dylan’s band), led a large ensemble with the Valentines providing backing vocals and the Brass Attack Horns adding a suitably greasy top.

“Live” – subtitled “Greatest Hits ’76-’93” – was released on CD and double vinyl late-1993 to strong sales, especially in France, Spain (where ‘Demasiado Corazon’ was a hit and “Live” topped the album chart), Switzerland, Germany and Holland. In France “Live” received the prestigious Prix de l’Académie Charles-Cros. “Live” was not released in any Anglo-territories – this reissue on Big Beat rescues the album from oblivion (FNAC collapsed in 1994) and finally makes it available to DeVille fans in the English-speaking world. DeVille dedicated “Live” to Steve Douglas, the majestic saxophonist who played on and produced Mink DeVille’s “Return To Magenta” and “Le Chat Bleu” and died in 1993.

Ace’s reissue of “Live” comes with extensive notes featuring interviews with all the surviving principals involved, illustrated with previously unseen photos and memorabilia. The album presents an artist at the height of his powers. Any fan of late-20th Century American music will find much to enjoy here.

By Garth Cartwright (Ace Records)
Ace Records 2012 CD 17.00 €
Yardbirds - Little Games
By the time Jimmy Page joined the Yardbirds in 1966, the group was already firmly established as one of the era’s most innovative and creatively adventurous British bands. The addition of Page allowed the band’s heady mix of blues and psychedelia to coalesce into an edgy approach that laid the stylistic groundwork for Page’s next band, Led Zeppelin (who were known as the New Yardbirds in their early days).

The Yardbirds’ 1967 release Little Games—produced by noted British pop guru Mickie Most—is the band’s only album to be recorded entirely with Page as a member, and the only one to feature the group’s final lineup of Page and founding members Keith Relf, Chris Dreja and Jim McCarty. Little Games is also a transitional effort that finds the Yardbirds delving into an array of sounds and styles, from gritty blues-rock (“Drinking Muddy Water”) to swirling psychedelia (“Glimpses”) to introspective balladry (“Only the Black Rose”). Several of the album’s tracks can now be seen as sonic blueprints for Led Zeppelin, e.g. “Tinker, Tailor, Soldier, Sailor” and “Glimpses,” both of which feature the distinctive guitar-bowing technique for which Page would soon become famous. Page’s acoustic instrumental showcase “White Summer” would later become a frequent feature of Led Zeppelin’s live performances. The album also features Page’s future Zep bandmate John Paul Jones on bass, cello and string arrangements, along with guest appearances by UK session aces Nicky Hopkins and Clem Cattini.

Sundazed Music’s new CD and LP editions of Little Games have been sourced from the original UK mono masters.
Sundazed Music 2010 CD 17.00 €
Yardbirds - Little Games
By the time Jimmy Page joined the Yardbirds in 1966, the group was already firmly established as one of the era’s most innovative and creatively adventurous British bands. The addition of Page allowed the band’s heady mix of blues and psychedelia to coalesce into an edgy approach that laid the stylistic groundwork for Page’s next band, Led Zeppelin (who were known as the New Yardbirds in their early days).

The Yardbirds’ 1967 release Little Games—produced by noted British pop guru Mickie Most—is the band’s only album to be recorded entirely with Page as a member, and the only one to feature the group’s final lineup of Page and founding members Keith Relf, Chris Dreja and Jim McCarty. Little Games is also a transitional effort that finds the Yardbirds delving into an array of sounds and styles, from gritty blues-rock (“Drinking Muddy Water”) to swirling psychedelia (“Glimpses”) to introspective balladry (“Only the Black Rose”). Several of the album’s tracks can now be seen as sonic blueprints for Led Zeppelin, e.g. “Tinker, Tailor, Soldier, Sailor” and “Glimpses,” both of which feature the distinctive guitar-bowing technique for which Page would soon become famous. Page’s acoustic instrumental showcase “White Summer” would later become a frequent feature of Led Zeppelin’s live performances. The album also features Page’s future Zep bandmate John Paul Jones on bass, cello and string arrangements, along with guest appearances by UK session aces Nicky Hopkins and Clem Cattini.

180 gram vinyl
Sundazed Music LP 20.00 €
Zombies - Decca Stereo Anthology 2CD
2CD = 48 tracks
Ace Records 2002 2-CD 25.00 €
Zombies - Into The Afterlife
Colin Blunstone, Neil MacArthur & Chris White
Ace Records 2007 CD 18.00 €
Zombies - Odessey & Oracle
Ace Records 1998 CD 13.00 €
Zombies - Odessey & Oracle - 30th Anniversary Edition
Ace Records LP 18.00 €
Zombies - Time Of The Season
Big Beat’s exhaustive Zombies reissue campaign of the last 12 years has achieved what it set out to do: restore to world-class status the catalogue of this most singular of pop groups. In the course of our ongoing archival research, many previously unheard Zombies songs and performances have come to light and have been included on our numerous CD releases, including the acclaimed box set “Zombie Heaven”. Subsequently, there have been numerous requests from fans to have these rare tracks also made available on vinyl.

Big Beat now presents the best of the Zombies’ originally unissued 1960s recordings on a set of six themed, limited edition vinyl EPs – mirroring the venerable, collectable format of the period – and resplendent in authentically-styled, eye-catching sleeves. As a special bonus, four of the six EPs contain vintage Zombies recordings that have not been released anywhere until now – a boon for both collectors and fans.

Our second set of EPs includes “Zombies ’66”, “Live At The BBC” and “Time Of The Season”. Once again, none of these tracks have appeared on vinyl before, and we are most excited to offer several completely unreleased tracks: different BBC performances of ‘This Old Heart Of Mine’ and ‘Just A Little Bit’ to those that appear on “Zombie Heaven”, as well as the group’s take on the Four Tops’ ‘Loving You Is Sweeter Than Ever’.

The “Time Of The Season” EP features rarities connected to the epochal “Odessey & Oracle album”: different mono mixes of ‘Time Of The Season’ and ‘A Rose For Emily’ (the latter unreleased) and two fresh stereo remixes of key album tracks ‘Care Of Cell 44’ and ‘Hung Up On A Dream’.

By Alec Palao (Ace Records)
Ace Records 2010 Single/EP 8.00 €
Zombies - Zombies '66
Big Beat’s exhaustive Zombies reissue campaign of the last 12 years has achieved what it set out to do: restore to world-class status the catalogue of this most singular of pop groups. In the course of our ongoing archival research, many previously unheard Zombies songs and performances have come to light and have been included on our numerous CD releases, including the acclaimed box set “Zombie Heaven”. Subsequently, there have been numerous requests from fans to have these rare tracks also made available on vinyl.

Big Beat now presents the best of the Zombies’ originally unissued 1960s recordings on a set of six themed, limited edition vinyl EPs – mirroring the venerable, collectable format of the period – and resplendent in authentically-styled, eye-catching sleeves. As a special bonus, four of the six EPs contain vintage Zombies recordings that have not been released anywhere until now – a boon for both collectors and fans.

Our second set of EPs includes “Zombies ’66”, “Live At The BBC” and “Time Of The Season”. Once again, none of these tracks have appeared on vinyl before, and we are most excited to offer several completely unreleased tracks: different BBC performances of ‘This Old Heart Of Mine’ and ‘Just A Little Bit’ to those that appear on “Zombie Heaven”, as well as the group’s take on the Four Tops’ ‘Loving You Is Sweeter Than Ever’.

The “Time Of The Season” EP features rarities connected to the epochal “Odessey & Oracle album”: different mono mixes of ‘Time Of The Season’ and ‘A Rose For Emily’ (the latter unreleased) and two fresh stereo remixes of key album tracks ‘Care Of Cell 44’ and ‘Hung Up On A Dream’.

By Alec Palao (Ace Records)

Ace Records 2010 Single/EP 9.00 €
Zombies - Zombies On The BBC
Big Beat’s exhaustive Zombies reissue campaign of the last 12 years has achieved what it set out to do: restore to world-class status the catalogue of this most singular of pop groups. In the course of our ongoing archival research, many previously unheard Zombies songs and performances have come to light and have been included on our numerous CD releases, including the acclaimed box set “Zombie Heaven”. Subsequently, there have been numerous requests from fans to have these rare tracks also made available on vinyl.

Big Beat now presents the best of the Zombies’ originally unissued 1960s recordings on a set of six themed, limited edition vinyl EPs – mirroring the venerable, collectable format of the period – and resplendent in authentically-styled, eye-catching sleeves. As a special bonus, four of the six EPs contain vintage Zombies recordings that have not been released anywhere until now – a boon for both collectors and fans.

Our second set of EPs includes “Zombies ’66”, “Live At The BBC” and “Time Of The Season”. Once again, none of these tracks have appeared on vinyl before, and we are most excited to offer several completely unreleased tracks: different BBC performances of ‘This Old Heart Of Mine’ and ‘Just A Little Bit’ to those that appear on “Zombie Heaven”, as well as the group’s take on the Four Tops’ ‘Loving You Is Sweeter Than Ever’.

The “Time Of The Season” EP features rarities connected to the epochal “Odessey & Oracle album”: different mono mixes of ‘Time Of The Season’ and ‘A Rose For Emily’ (the latter unreleased) and two fresh stereo remixes of key album tracks ‘Care Of Cell 44’ and ‘Hung Up On A Dream’.

By Alec Palao (Ace Records)
Ace Records 2010 Single/EP 13.00 €
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