Live In America
|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 €
|Dave Edmunds - Again
||Cherry Red Records 2013||CD||17.00 €
|Dave Edmunds - Again
||Cherry Red Records 2013||CD||17.00 €
|Dave Edmunds - Original Album Classics 5CD
||Sony Music Entertainment 2013||CD||25.00 €
|Dave Edmunds - Subtle As A Flying Mallet
albumi vuodelta 1975
|RPM Records 2013||CD||17.00 €
|Manfred Mann's Earth Band - The Good Earth
||Creature Music 2013||CD||15.00 €
|Nick Lowe - Quality Street - A Sasonal Selection For All The Family
Quality Street: A Seasonal Selection For All The Family is a twinkling blend of traditional hymns, forgotten gems and Lowe originals. From the opening rockabilly-charged "Children Go Where I Send Thee" and the comfy hush of "Christmas Can't Be Far Away," the record includes the beatnik bop of "Hooves on the Roof" (written especially for the project by Ron Sexsmith), Roger Miller's wistful classic "Old Toy Trains," before wrapping up with a ska-flavored take on "I Wish It Could Be Christmas Every Day." Of course, it's all performed in Nick's singular style and, as Nick would say, "in a sleigh-bell free zone!"
|Proper Records 2013||CD||20.00 €
|Nimbus - Obus
Salolaisen Nimbus-yhtyeen Obus lukeutuu 1970-luvun suomiprogen harvinaisimpien ja arvostetuimpien levyjen joukkoon. Albumi ilmestyi alunperin vuonna 1974 Jukka Kuoppamäen luotsaaman Satsanga Recordsin julkaisemana. Obus sisältää lähinnä yhtyeen kitaristin Harri Suilamon säveltämiä ja sanoittamia kappaleita.
Obus julkaistaan nyt ensimmäistä kertaa virallisena cd-painoksena ja alkuperäisiltä masternauhoilta masteroituna. Albumin lisäksi cd:lle on otettu bonusraidoiksi mukaan aiemmin levyllä julkaisemattomat Ylen Popstudio-ohjelmaan vuonna 1974 nauhoitetut kappaleet Aamumaa ja Myrskyjen välillä. CD:n mukana seuraa 16-sivuinen booklet, josta löytyy runsaasti harvinaista kuvitusta, yhtyeen pienoishistoriikki sekä kappaleiden sanat.
|Rocket Records 2013||CD||17.00 €
|Pirates - Land Of The Blind
includes three bonus tracks.
MICK GREEN had a pedigree that stretched back as long as British Rock and R&B had been around and since 1962 he was performing as The PIRATES. In the 80's and 90's Mick played with amongst others BRYAN FERRY, VAN MORRISON and PAUL McCARTNEY.
"Land Of The Blind" was recorded in 1996 and the album has been remastered with three live bonus tracks recorded in Finland during the same year. Mick died in 2010.
Crank up loud and enjoy a classic Pirates album.
|Angel Air Records 2013||CD||17.00 €
|Rockpile - Live At Rockpalast CD + DVD
ROCKPALAST is a legendary ‘live’ music TV show hosted in Germany by the WDR channel. It first broadcast in 1974 and has become a pan-European television institution. It has its own fan club and online forum, and in almost four decades, it has become a trademark of quality viewing and listening.
PERFORMANCE DATE: MARKTHALLE HAMBURG, GERMANY, 12 JANUARY, 1980. Their only appearance as Rockpile (though Dave Edmunds appeared solo later in 1983).
Rockpile was a tight, entertaining band combining the talents of Dave Edmunds (guitar, vocals), Nick Lowe (bass, vocals), Billy Bremner (guitar, vocals) and Terry Williams (drums). This is an essential release for fans, as Rockpile never released a ‘live’ album in their short lifetime.
Contains greatest hits from both Dave Edmunds’ and Nick Lowe’s stellar back catalogues. Features songs contributed by Mickey Jupp (‘You’ll Never Get Me Up In One Of Those’), Elvis Costello (‘Girls Talk’), Chuck Berry (‘Let It Rock’ & ‘Promised Land’) and, of course, Nick Lowe - Stiff Records’ songwriter supreme - including a version of his debut solo hit ‘So It Goes’.
Informative booklet with twin liner notes - in English by Will Birch, noted British journalist, broadcaster, author and, expert on the Pub Rock and the ‘Southend Rock’ scene (of which Dr Feelgood were the leading exponents) - and in German by noted journalist and broadcaster Uli Kniep.
Expertly restored and remastered. Superb vision, outstanding sound. The best in the business!
|Repertoire Records 2013||2-CD||22.00 €
|Screaming Lord Sutch And Heavy Friends - Screaming Lord Sutch And Heavy Friends
first released 1970.
|Esoteric Recordings 2013||CD||18.00 €
|Strypes - Snapshot
||Virgin EMI Records 2013||LP||22.00 €
|VA: - Nippon Girls
By popular demand, the series kicks off with “Nippon Girls”, a celebration of the female side of Japan’s 1960s pop scene. The LP comprises a dozen highlights from the CD of the same title issued on our Big Beat International logo a couple of years back, one of our recent top sellers. Compiled by DJ Sheila Burgel, a former Tokyo resident, the “Nippon Girls” CD raised a few eyebrows here at Ace HQ, but girl-pop maven Sheila knew what she was doing. The collection drew rave reviews, becoming something of a left-field hit with the club crowd and young hipster types.
Sheila also supplied the fascinating and scholarly liner notes, from which we learn that bikini-clad cover girl Jun Mayuzumi’s ‘Black Room’ “boasts booming bass lines and a dancefloor readiness that’s already caught the ear of freakbeat collectors, while Mie Nakao’s fuzz-rocker ‘Sharock No. 1’ takes ‘Green Onions’ as its template. ‘Tsukikage No Rendezvous’ by Keiko Mari is a tamer affair, with Latin rhythms and cute banter between Mari and her all-male chorus. J Girls were sisters Shinobu and Jun Hazuki. Their ‘Kiiro No Sekai’ was recorded in 1969 but remained under wraps until 1995’s “Cutie Pops Collection”. Reiko Ohara’s ‘Peacock Baby’ was released in 1968 and came in a mouth-watering gatefold sleeve. Mieko Hirota was a music heavyweight, close to Dusty Springfield in the ability to inspire awe with her voice. In the mid-60s, she was paired up with Kyohei Tsutsumi, one of Japan’s greatest pop writer/producers. His love of Anglo-American records is clearly audible on ‘Nagisa No Tenshi’, its backing track not very subtly swiped from ‘Cool Jerk’.”
The second side makes for an equally compelling listen. Opener Rumi Koyama was “a go-go dancer for TV show Beat Pops. Her debut single is rather square, but its jazzy flip ‘Watashi No Inori’ is just the right amount of raw and teenage. A year after the Carnabeats hit paydirt with a reading of the Zombies’ ‘I Love You’, re-titled ‘Suki Sa Suki Sa Suki Sa’, Nana Kinomi included the same song on her album “Let’s Go Nana!” with GS band Leo Beats. You can hear half-American, half-Japanese model Miki Obata struggle to hit the high notes on ‘Hatsu Koi No Letter’, but it’s considered a Japanese girl-pop staple. Ryoko Moriyama’s ‘Ame Agari No Samba’ attests to the high quality of Japanese bossa nova – as laidback and atmospheric as the Brazilian originals it emulated. Former figure skater Ayumi Ishida’s ‘Taiyou Wa Naite Iru’ is total melodrama, a whirlwind of harpsichord and strings. The star of over a hundred films, Sayuri Yoshinaga appealed to the Japanese mainstream with her modest image and ability to leave audiences in floods of tears. Her ‘Koi No Yorokobi’ is the perfect Japanese girl-pop primer – dark yet upbeat, with all-girl chorus the Schoolmates chirping in the background.”
“Nippon Girls” is highly recommended to girl group fanciers, GS groovers and anyone else with a keen ear for eclectic sounds. The LP version sports a zingy gatefold cover by designer Niall McCormack, who also created the 23-inch square poster found tucked inside.
By Mick Patrick (Ace Records)
|Ace Records 2013||LP||25.00 €
|Bob Lind - Finding You Again
Spread the news. Reclusive folk-rock singer/songwriter Bob Lind – he of the classic 1966 megahit ‘Elusive Butterfly’ – has just released his first studio album in more than 40 years! “Finding You Again” demonstrates conclusively that genius can continue to flourish, even into an artist’s advancing years.
Long known by music-business insiders for his self-destructive battles with the record industry, Bob Lind was, by his own admission, “poison to work with”. Now, thanks to veteran rock guitarist/producer Jamie Hoover, he has emerged with an album of new music that proves his craftsmanship has not only held up but improved and evolved since the 60s. Hoover’s sensitive, versatile production perfectly complements the songs – giving each cut the care and specific shading it deserves.
Clean and sober more than 35 years, Lind reveals a late-blooming but tangible personal and artistic maturity in these new songs. He retains the astonishing lyrical virtuosity that brought him critical acclaim when he was in his early 20s, but his melodic scope has broadened and become even more accessible. Amazingly, his voice is stronger and more expressive than ever.
The 13-song disc easily bypasses the criticism sometimes levied at singer/songwriters: that their songs all sound the same. Just contrast the rough-rocking self-condemnation of ‘How Dare You Love Me’ and the poignant, tentative soul-searching of ‘Maybe It’s The Rain’. Each song is different from the others, yet all contain the special stamp of one of America’s most passionate songwriters.
Lind’s fearless self-honesty is almost uncomfortable to listen to at times. He reveals his darkest corners without ever coming off as self-indulgent, as evident on ‘The Gravity Of The World’. But there’s also a lot of joy in this album. ‘Let It Go’, ‘Exeter (The Wedding Waltz)’ and the vigorous, percussive Caribbean-flavoured title song demonstrate that Lind has not become closed-up and bitter with the passing of time. And there’s a first-ever in the inclusion of a song Lind didn’t write: Peter Allen and David Lasley’s ‘Somebody’s Angel’.
Addressing the groundswell of excitement surrounding this release, Lind says, “It’s just endurance. That’s all it is. If you don’t quit and you don’t die, sooner or later the world – or at least a special part of the world – takes notice. I’m just grateful that Jamie and Ace Records came along at this perfect time.”
By Roger Edmunds (Ace Records)
|Ace Records 2012||CD||18.00 €
|Daddy Long Legs - Evil Eye On You
Here is the long awaited debut platter from Brooklyn's most blues wailing stompers Daddy Long Legs! Trust us -- there's no Fedora hat, no third rate wanky, watered down Chicago blues in these grooves! For fans of Howlin' Wolf, Captain Beefheart, Little Walter, Flamin Groovies, Kid Thomas and Dr. Feelgood! A dozen pounding workouts!
|Norton Records 2012||LP||
|Dion - Yo Frankie
If ever there was a couplet to re-establish the early stance of Dion records, it can be found in ‘King Of The New York Streets’: “I didn’t need no bodyguard. I just ruled from my backyard”. This opening track on “Yo Frankie”, Dion’s 1989 album that has long been on Ace’s re-release wish list, sets the scene firmly amid the pavements and haunts of the Big Apple, recapturing in one song all the imagery and associations we have from the man’s classic 50s and early 60s hits.
“Yo Frankie” came about after Clive Davis and Roy Lott, the president and vice-president of Arista Records, had watched Dion perform at Radio City in 1987 and immediately offered him the chance to cut an album for them. Dave Edmunds, whose work Dion admired, was chosen to produce the record. Edmunds enlisted key players – including bassist Phil Chen, drummer Terry Williams and keyboard player Chuck Leavell – to form a tight rocking unit to drive the album. Dion prepared a wonderful set of songs, many written with his good friend Bill Tuohy, with others by Diane Warren, Bryan Adams and Tom Waits.
Alongside the quality of the material and Dion’s vocal performance, one of the most successful elements of the album is the cohesiveness of the production. Edmunds achieves a strong contemporary rock feel strongly rooted in his Rockpile work that effortlessly offers a bridge back to the feel of Dion’s earlier recordings. There are just enough echoes of the past to make everything seem familiar while still feeling fresh and new. Dion’s vocal inflections extract the maximum from the lyrical imagery, notably on the castanet-filled ‘Always In The Rain’, his favourite track on the album.
The sessions for the album attracted many big names to the studio, including Bryan Adams, who wrote, produced and played on ‘Drive All Night’. Paul Simon takes the lead and layered harmonies on the affectionately inserted ‘Little Star’ section of ‘Written On The Subway Wall’. As Lou Reed, another guest background vocalist, said in Dion’s Rock And Roll Hall Of Fame induction speech (reproduced in full in the booklet), “Dion could do all the turns. He had the chops and practically invented the attitude. After all, who could be hipper than Dion.”
The “Yo Frankie” album stands as one of the real high points in Dion’s canon. We at Ace are totally delighted to add it to our extensive catalogue of his work.
By Kingsley Abbott (Ace Records)
|Ace Records 2012||CD||13.00 €
|Marty Cooper - I Wrote A Song
It’s likely that many of those reading this will know Marty Cooper from songs he wrote in the 1960s: the Marathons’ ‘Peanut Butter’, Stevie Wonder’s ‘Hey Harmonica Man’ and Jack Nitzsche’s symphonic epic ‘The Lonely Surfer’, to name just three. They might also be familiar with ‘A Little Bit Country, A Little Bit Rock’n’Roll’ or Donna Fargo’s country #1 ‘You Can’t Be A Beacon (If Your Light Don’t Shine)’, the records Marty made with Lee Hazlewood as a member of the folksy Shacklefords or the singles he produced on R&B vocalist Bobby Day. This first-time reissue of his 1970s albums provides a welcome opportunity to catch up with his subsequent career as a soft rock country-style singer-songwriter.
Marty’s first album, “A Minute Of Your Time”, was released on Andy Williams’ Barnaby label in 1972. “Ken Mansfield had done an album with Rick Cunha, my friend from the group Hearts & Flowers,” recalls Marty in the booklet. “Ken had just gotten his job at Barnaby. I showed him what I was doing and he gave me my opportunity to be a recording artist. He let me pick the songs and we produced the album together.” Musicians on the record include jazz guitarist Larry Carlton, steel-player Richard Bennett, drummer Johnny Guerin from Joni Mitchell’s band, John McKuen of the Nitty Gritty Dirt Band, fiddle-player Bobby Bruce and pianist Larry Muhoberac, who also provided the arrangements, with Kim Carnes and Brooks Hunnicut on background vocals.
1979’s “If You Were A Singer” was issued on EMI Germany and in other countries around the world, but not in theUSA, due to what Marty refers to as “misplaced political correctness”. The album was produced by Marty with help from Michael Lloyd, Al Capps and Larry Muhoberac and includes notable contributions from background vocalists Rhodes-Chalmers-Rhodes and Maxi Anderson.
“My main influence as a songwriter was border radio, the Mexican stations that came into the United States and played country music,” concludes Marty. “I spent many, many long hours alone in my room listening to those songs. I was fascinated that they could make you laugh, and the next one could make you cry. I was the only kid in school who listened to country music or certainly knew who Bob Wills was. I eagerly awaited every new release on every label. That’s where my impetus came from. I was impacted by those songs, like some people might be impacted by opera or a sentimental movie. They influenced me to try to play guitar and write songs. My first efforts were extraordinarily derivative, but I found my way. I couldn’t stop writing and I’m still writing.”
By Mick Patrick (Ace Records)
|Ace Records 2012||CD||18.00 €
|Phil Spector - Designing The Wall Of Sound 2CD
Designing The Wall of Sound - "I Love How You Love Me" and 47 Other Bricks in the Wall
Following on from the success of 'Building the Wall of Sound - JASCD 582' Jasmine are proud to continue charting the early career of rock's greatest producer, Phil Spector.
48 tracks across 2 CDs with early work by, Ben E. King, Johnny Nash, Gene Pitney and more!
Don't miss the first releases on Phil Spector's own label by The Crystals and the first ever version of 'Twist & Shout'!
Fully detailed liner notes continue to cover his entire history.
|Jasmine Records 2012||CD||13.00 €
|Rolling Stones - Doom And Gloom
Jeff Bhasker Mix
|Universal International Music 2012||10" LP||15.00 €
|Shocking Blue - Love Buzz 2x10"
Shocking Blue from the Beat-scene of the Hague of the 1960s was the first Dutch band to have a #1 hit in the US, 'Venus'.
After a number of other hits and international tours, the band sadly split in 1975.
Their influence on music passed on to new generations; both Nirvana and The Prodigy covered the song 'Love Buzz' at some time in their careers. 'Love Buzz', the new vinyl-only compilation released specially by Music On Vinyl, is a collection of their best hits.
It's ssued in a gatefold sleeve on two 10" with a swelteringly sexy poster of singer Mariska Veres.
A special treat awaits the early birds: the first batch of 500 copies will be pressed on shockingly blue vinyl!
• 120 grams audiophile 10" vinyl
• Gatefold sleeve
• Music On Vinyl exclusive compilation
• Includes Poster
• First 500 limited on Blue vinyl
|Music On Vinyl 2012||10" LP||25.00 €
|T. Valentine with Daddy Long Loegs - The Vampire
The Hello Lucille Are You A Lesbian king is back from parts unknown with a frantic new album that defies all description! Featuring Norton newest sensations Daddy Long Legs on rumblin' R&B instrumentation, the legendary Chicago soul screamer delivers the insanest, rawest collection of evil ass twisted genre-manglin' blues EVER! Crossover, MY FOOT! Dig The Vampire, Shake Your Funky A-S-S, The Death Of Betty Sue, Gravediggers, Cell Phone and mo'! Be sure to pick up a souvenir cell phone and autographed limited edition posters at the Norton merch shop! THE VAMPIRE is also available on CD for camping trips and automotive use.
|Norton Records 2012||LP||15.00 €
|VA: - All Kinds Of Highs - A Mainstream Pop-Psych 1966-70 2CD
Between 1967 and 1970, New York’s Mainstream label, a respected imprint known principally for its high quality jazz and soundtrack catalogue, recorded and released over two dozen full-length rock albums. “All Kinds Of Highs: A Mainstream Pop-Psych Compendium 1966-70” collects the best moments from these records, along with selected highlights from Mainstream’s singles inventory of the same period.
It was still an era where there was no guarantee that even a significant hit single would grant an artist the luxury of a long-playing disc. Yet, in an assiduous move, company president and A&R chief Bob Shad single-handedly traversed the nation to assemble a roster of unknown rock bands, have them quickly record LPs in the styles of the moment, and then throw it all up at the proverbial ceiling, to see what would stick. At the time, and for some years after, Shad’s rock’n’roll splurge was viewed, somewhat cynically, as emblematic of the industry’s gross exploitation of the baby-booming psychedelic milieu. As popular music got more self-consciously cerebral and the Rolling Stone mindset took over, the rock album had become a sacred totem, an instrument of the “serious” artist. Which no doubt precluded any of the Mainstream acts getting taken seriously.
I always did, however. Back in the 80s, a Mainstream album, when you were lucky enough to spot one in the vinyl hostelries of London, was a fascinating curio. Intriguingly cryptic names such as the Bohemian Vendetta or Tangerine Zoo, emblazoned upon garish pop-art sleeves, stood out in the racks. My friend Tom (later in Th’ Faith Healers and Quickspace Supersport) and I vied with each other to “collect the set”, as it were, but truthfully, at the time, the Mainstream psychedelic albums seemed too few and far between, and I was frankly too broke.
It wasn’t until I later moved to the US that I caught up on classics from the Tiffany Shade, Jelly Bean Bandits and Growing Concern and also started acquiring some of the numerous non-LP singles on Mainstream and its subsidiary Brent – many of which, by Fever Tree, Paraphernalia, the Country Gentlemen and suchlike, are true gems. It always struck me that Bob Shad was a kind of unwitting patron of pop-psychedelia, or at least a chronicler of American rock at a grass roots level. He had a knack for frequently choosing groups that had something a little out of the ordinary, whether it be in songwriting chops, instrumental abilities, or just a unique slant, that to revisionist ears is a most appealing aspect of the label’s rock legacy. Mainstream artists in this era touch equally on Anglophile pop, folk-rock, world music, country and vocal harmony, in often thrilling manner.
It also occurred to me as I collected Mainstream releases that, while each album had merit, there were always tracks that stood out. Using the “Nuggets” precept, it made sense to gather all these strongest moments together. Thus we have “All Kinds Of Highs”, which focuses squarely and unapologetically on the pop-psych end of the spectrum, eschewing the hard rock or horn rock stylings of later Mainstream acts such as Last Nikle, Josefus etc. That can be someone else’s compilation – in the meantime, revel in the glorious, groovy miscellany assembled here.
By Alec Palao (Ace Records)
|Ace Records 2012||CD||25.00 €
|VA: - Feeling High - the Psychedelic Sound Of Memphis
Memphis is well known as the birthplace of the blues, the fount of southern soul and the locale that begat rock’n’roll. My colleagues and I have been digging deep in various Memphian vaults over the past decade, but the focus up until now has largely been soul and R&B. Lest we forget, the city boasted a healthy rock scene well into the 1960s and 1970s, but few retrospectives have documented Memphis music in the psychedelic era when, as a major recording centre, it was the nexus not just for local freaks, but those from neighbouring Arkansas, Mississippi and beyond. Big Beat’s “Feeling High – The Psychedelic Sound Of Memphis” shines a welcome light on this long-neglected area, focusing on the years 1967-1969 and principally on the work of two renowned Memphis mavericks.
With a decades-long career as an iconoclastic musical polymath, Jim Dickinson needs little introduction. However, his rarely-discussed apprenticeship as a producer-engineer at Ardent Studios in the late 1960s made Dickinson responsible for many of the wildest and wackiest sessions ever held in Memphis. Some excerpts slipped out at the time on obscure singles on Stax and elsewhere, such as the absurd version of ‘For Your Love’ by Honey Jug. “Whenever anybody came into Ardent, it was obvious who was going to do the crazy stuff, ”Dickinson recounted to me several years ago. The bands he produced there include the pyjama-wearing Kinks-ish Wallabys of Jackson, Mississippi and psychedelic hillbillies Knowbody Else, later to become famous as Black Oak Arkansas.
In contrast, James Parks was a young wet-behind-the-ears punk who took over the control room at uncle Stan Kesler’s Sounds Of Memphis studio in 1968, bringing in his freak friends from counterculture hotspots such as the Bitter Lemon. Parks’ production work included Changin’ Tymes, Mother Roses and Triple X, featuring future country star Gus Hardin, as well as crazoid studio-only experiments such as ‘Rubber Rapper’ and ‘Shoo Shoo Shoo Fly’. There is a palpable air of chaos about much of what Parks produced, which explains why he was unable to place a lot of it at the time – but in hindsight it’s a remarkable cache of work.
Dickinson and Parks represent the outer edge of the Memphis music scene in those years. While the vast majority of tracks on “Feeling High” have not been issued before, their inspired lunacy and a shared willingness to push the envelope make the recorded evidence very special indeed. Local notables such as the Poor Little Rich Kids, 1st Century and Goatdancers share the tracklisting, the sound quality is excellent, and the detailed liner notes spill the beans on this fascinating tributary of the city’s musical legacy. File alongside our “Thank You Friends – The Ardent Records Story” (CDWIK2 273) as another instalment of delicious Memphis madness.
By Alec Palao (Ace Records)
|Ace Records 2012||CD||18.00 €
|VA: - Get Ready To Fly
26 mindbending late 60s tracks produced by Norman Petty
You’d better fasten your seat belts because once this flight takes off, you’ll never come down!
So you’re wondering why Norman Petty, producer extraordinaire and champion of rockabilly music in the 1950s has his name on a “psychedelic” compilation? The simple answer is that although Petty's main interest and focus was on music that may have been a little tamer, he still had a hand in just about every genre possible. If you were lucky enough to take the trek to Petty’s Clovis, New Mexico studio, Norman would make you sound… GREAT! He took his incredible production, arranging and editing skills and transferred them with amazing precision into the psychedelic realm.
With bands like the Frantics, Hooterville Trolley, Group Axis, Butter Rebellion, Intricate Blend, Apple-Glass Cyndrom and The Cords, how can you go wrong? Get Ready To Fly isn’t just a cameo collection of psychedelic tunes with Petty’s production as the common thread. And although the term “pop-psych” spans a pretty wide realm, this particular collection features a mind-boggling selection of 26 phenomenally-crafted songs with a bit of a hard-edged fuzz appeal. Get Ready To Fly truly doesn’t have a bad cut on it, and the overall quality of the selections is well… unbelievable!
Alec Palao has done it again, culling master tapes from another darkened vault and turning them into a highly polished audio eargasm, equipped with the requisite fuzz guitars, sitars, backwards tracking and haunting vocals required for a 73 minute flight like this. With full access to Petty's archives, the candidate list for this volume was immense, the net result being that about two thirds of the entire collection has never appeared on any compilation before. And about half of those were NEVER even released, just collecting dust in the Petty vaults for almost 40 years.
Get Ready To Fly has something for every lover of late 1960s psychedelic music, whether you're a grizzled collector or a novice, so don’t hesitate for a second to pick this one up. It’s been a long time since a collection this solid has been released.
By Ben Chaput (Ace Records)
|Ace Records 2012||CD||18.00 €
|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: - 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 €
|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 €
|All About Eve - Touched By Jesus
gothic rock album originally released 1991
|Talking Elephant Records 2011||CD||17.00 €
|Buckingham Nicks - Crying In The Night / Crying In The Night
The fantastic opening track of Buckinghmam Nicks super rare 1973 LP on Mono and Stereo versions! Great repro 45 with black & white picture sleeve… classic! PURPLE colour vinyl
|Polydor 2011||Single/EP||10.00 €
|Elvis Presley - From Elvis In Memphis
'From Elvis in Memphis' is the thirty-fifth album by Elvis Presley originally released in 1969.
The recording of the album marked the definite return of Presley to non-soundtrack albums, after finishing his movie contract with Paramount pictures.
Motivated by his early influences in country, rhythm and blues, and the latest music trend in Memphis being gospel and soul, Presley chose to record these songs at the Memphis-based American Sound Studio.
• 180 grams audiophile vinyl
|Sony Music Entertainment 2011||LP||20.00 €
|Emerson Lake & Palmer - Trilogy
||Music On Vinyl Records 2011||LP||20.00 €
|Evie Sands - Suspended Animation
As a writer her songs have been covered by Dionne Warwick, Barbara Streisand, Dobie Gray, Dusty Springfield, Frankie Valli, Gladys Knight, Arthur Prysock, The Manhattans, Cher/Greg Allman, Jose Feliciano, PhyllisHyman, Brenda & The Tabulations, The Persuasions, Ronnie Spector, Hot, Betty Everett and Karen Carpenter, Helen Reddy, Linda Clfford, June Pointer, The Weather Girls, Jet Brown, Ramona Brooks, and Shirley Bassey.
Elvis Presley was recording one of Evie’s songs for an album but died and so vocally incomplete it was never released. Often named as one of Dusty Springfield’s favourite vocalists, Brooklyn-born brunette Evie Sands is one of the most highlyr egarded female singers of the 1960s Brill Building era, and also a respected favourite on the northern soul scene.
She released Suspended Animation in 1979 and is joined on the record by an impressive cast of musicians, while the singer herself plays keyboards: piano, Rhodes, clavinet, Elec.Piano throughout. Buzzy Feiten, Reggie McBride and James Gadson, Lee Ritenour, Richie Zito and Steve Lukather, Greg Phillinganes, Ian Underwood. And the backing vocalists included Bill Champlin, who went on to join Chicago, Bobby Kimball of Toto, and Tom Kelly (who co-wrote Like A Virgin for Madonna),The Waters and the immortal Dusty Springfield.
|Superbird Records 2011||CD||15.00 €
|George Thorogood And The Destroyers - 2120 South Michigan Ave.
||Capitol Records 2011||CD||18.00 €
|George Thorogood And The Destroyers - 2120 South Michigan Ave. 2LP
2120 South Michigan Avenue, home of Chicago’s Chess Records, may be the most important address in the bloodline of the blues and rock ‘n’ roll. That address – immortalized in the Rolling Stones’ like-named instrumental, recorded at an epochal session at Chess in June 1964 and included on the band’s album 12 X 5 – serves as the title to George Thorogood’s electrifying Capitol/EMI salute to the Chess label and its immortal artists.
Thorogood has been essaying the Chess repertoire since his 1977 debut album, which included songs by Elmore James and Bo Diddley that originated on the label. He has cut 18 Chess covers over the years; three appeared on his last studio release, 2009’s The Dirty Dozen.
On 2120 South Michigan Avenue, he offers a full-length homage to the label that bred his style with interpretations of 10 Chess classics. The album also includes original tributes to the Windy City and Chess’ crucial songwriter-producer-bassist Willie Dixon, penned by Thorogood, producer Tom Hambridge, and Richard Fleming, plus a cranked-up version of the Stones’ titular instrumental.
Produced by Tom Hambridge, three time Grammy nominee, 2010 Grammy winner the album also include featured guests Buddy Guy and Charlie Musselwhite, also both 2010 Grammy winners!
….this is the album George Thorogood was born to make!
This 2 LP vinyl set also includes a bonus track “Sweet Little Rock And Roller”
|Capitol Records 2011||LP||28.00 €
|Hank Wiliams III - Hank 3's Attention Deficit Domination
Hank3s doom-rock album. all original tracks
|Hank 3 Records 2011||CD||17.00 €
|Hank Williams & 3 Bar Ranch - Cattle Callin
||Hank 3 Records 2011||CD||17.00 €
|Head Cat - Walk The Walk..Talk The Talk
||Niji Entertainment Group 2011||CD||18.00 €
|Hurriganes - 10/80
vinyyli uusintapainos vanhasta ganes-klassikosta
|Warner Music Finland 2011||LP||22.00 €
|Hurriganes - Crazy Days
repressing of this classic vinyl.
|Love Records 2011||LP||22.00 €
|J.Hearthill Trinity - From Here To Trinity
”Autiomaan kuninkaalliset iskevät takaisin!”
Sydänmäen folkrock -gumbo!
Sisältäen 11 sielukasta laulua!
|Pyros Records 2011||CD||12.90 €
|Janis Joplin - Pearl
Janis' masterpiece album on 180-gram audiophile vinyl.
sourced from the original master
jacket meticulously recreated from the original art
|Music On vinyl 2011||LP||20.00 €
|Jukka Tolonen - Tolonen
repressing. finnish guitar hero
|Love Records 2011||LP||20.00 €
|Kitty, Daisy And Lewis - Messing With My Life / Coco Nuts
|Sunday Best Records 2011||78 rpm||10.00 €
|Max Forsstrom Band - Way Down Low / Don't Let Me Down
||Max Forström 2011||CD||4.00 €
|Pekka Streng & Tasavallan Presidentti - Magneettimiehen kuolema
vanhan vinyylin uusintapainos
|Love Records 2011||LP||22.00 €
|Reggie Watts - Recorded Live To Tape
||Third Man Records 2011||LP||20.00 €
|Royals - Spring 76
repressing. gatefold sleeve. lyrics on the innersleeve
|Love Records 2011||LP||22.00 €
|Shakin' Stevens - Country Blues
||Sony Music 2011||CD||10.00 €
|Shakin' Stevens - Rockin' The Blues
||Sony Music 2011||CD||10.00 €
|Thirteenth Floor Elevators - The Albums Collection 4CD
All four original "International Artists" albums remastered
|Snapper Music 2011||2-CD||20.00 €
GOOFIN' RECORDS 30th Anniversary Party
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE