| The Dictators - Every Day Is Saturday 2LP |
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Norton Records 2007 | LP | 25.00 € |
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| The Guess Who - Shakin' All Over! |
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Sundazed Music 2001 | CD | 19.00 € |
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| The Pirates - Live In America VINYL LP ! limited edition 500 copies made on GREEN vinyl. Now in stock !! |
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Goofin Records 2009 | LP | 18.00 € |
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| The Shadows Of Knight - Gloria Here is the first of the Shadow's two Dunwich longplayers from 1966, available from the original masters for the first time in over three decades!! With their debut album, Gloria, the Shadows of Knight bastardized the blues into a new form; they invented supersonic-tempo'd blues-punk!! Including the chart-stomping smash "Gloria" - plus, dig the wildness as they pulverize "I Got My Mojo Working" and the wigged-out "I Just Want To Make Love To You," then take it one extreme step further with totally tough originals like "Light Bulb Blues. |
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Sundazed Music 1998 | CD | 17.00 € |
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| The Standells - The Live Ones! Recorded live at Michigan State university 1966. All tracks previously unissued. |
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Sundazed Music 2001 | 10" LP | 15.00 € |
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| Thee Headcoats - W.O.A.H! - Bo In Thee Garage Originally released on Hangman Records, this BO DIDDLEY covers album by Billy Childish and company is a fantastic lo-fi Garage-drenched tribute to one of R&R’s greatest heros. Done in his own style with equal parts humor and respect, this is now true gem. |
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Get Hip Recordings 1993 | CD | 17.00 € |
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| Thirteenth Floor Elevators - The Albums Collection 4CD All four original "International Artists" albums remastered |
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Snapper Music 2011 | 2-CD | 20.00 € |
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| Tommie Mansfield Group With Jussi Raittinen - Tommie Mansfield Group With Jussi Raittinen Turun Johnny B. Goodeksi tituleeratun Tommie Mansfieldin ainoaksi jäänyt albumi ilmestyi vuonna 1972. Nyt tämä kulttiklassikoksi ja arvokkaaksi keräilykohteeksi muodostunut levy julkaistaan ensimmäistä kertaa cd-muodossa. Levyllä esiintyvän yhtyeen kokoonpanon muodostaa Tommie Mansfield (sähkö-, steel- ja akustinen kitara), Jussi Raittinen (laulu, sähkö- ja akustinen kitara, piano, kazoo), Antero Jakoila (sähkö- ja akustinen kitara), Kaj Westerlund (basso, piano), Paroni Paakkunainen (tenorisaksofoni ja viulu) sekä Edward Vesala (kitaran kansi). |
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Rocket Records 2011 | CD | 17.00 € |
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| Tommy Steele - The Happy World Of Tommy Steele Sleeve VG (+), Record EX |
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Decca 1969 | LP | 10.00 € Käytetty |
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| Tommy Steele - The Happy World Of Tommy Steele Vol. 2 Sleeve VG+, cut-out, Record VG+ |
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Decca 1971 | LP | 10.00 € Käytetty |
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| Tony Face Big Roll Band - Old Soul Rebel |
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Area Pirata | CD | 19.00 € |
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| Tremeloes - Good Times - The Ultimate Collection 2CD 2CD = 54 tracks |
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Castle Music 2002 | CD | 19.00 € |
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| VA: - 2131 South Michigan Avenue 2CD Though the ’60s garage band explosion was felt in every corner ofthe country, the local uprising of talent in Chicago thrived unlike anywhere else. The Windy City had the perfect infrastructure in place; from a booming population of teenagers, to hip music stores in every suburb, a proliferation of teen clubs willing to take their money, and a powerhouse radio station (WLS) equally up to promoting local bands. When it came to giving local groups a shot at 45 rpm fame, no Chicago label—not even the hallowed Dunwich Records—was more prolific than USA Records. USA’s Jim Golden was such a strong supporter of Midwest talent that he started up a second label focused solely in this area, Destination Records. A quarter century into the CD age, it’s hard to believe these pivotal labels have never been properly anthologized. Until now, that is! Sundazed once again arrives to the rescue with an exhaustive dive into the pure, undiluted garage side of USA and Destination Records; tapping into everything from priceless artifacts from the Lost Agency, the Foggy Notions, and Park Avenue Playground to label hitmakers the Buckinghams, the Cryan’ Shames, and the Flock at their most rockin’. There’s so much impossibly great music on these labels, we had to expand this collection to 40 tracks. The album artwork is stuffed with rare photos, band bios, and an interview with the legendary Jim Golden. For a full course of Chicago ’66 garage at its finest, look no further than 2131 South Michigan Avenue: 60’s Garage & Psychedelia from USA and Destination Records! |
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Sundazed Music 2009 | 2-CD | 35.00 € |
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| VA: - 60-tals Pop Från Göteborg Tages, Spotnicks.. |
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Carelia 1992 | CD | 17.00 € |
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| VA: - A Magical Mystery Tour 1967-1971 David Fraser Tapes Volume One. 26 tracks: Strangers / Graduate / Perfection / Happy Together / Party Machine / Nineteen '87 / Love Affair /Autumn / Cam-Pact / Network / Bobby Bright / Phase Two / John Rupert Group / Ram Jam Big Band etc |
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Canetoad Records | CD | 18.00 € |
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| VA: - A Solitary Man - The Early Songs Of Neil Diamond If you’re a Neil Diamond fan, the latest entry in our songwriter series is a no-brainer must-have. For starters, it collects 11 of the songs Neil wrote during the 1963-1969 timeframe that is its purview, but has never himself recorded. Among the numbers he gave away are the Monkees’ ‘Look Out (Here Comes Tomorrow)’ (heard here in the unique mix used on the original television broadcast) and Jay & the Americans’ ‘Sunday And Me’. Deep Purple’s remake of Diamond’s ‘Kentucky Woman’ was a hit just a year after his own version. Heavy, man! Further covers from his impressive run of over 50 chart singles are represented, most in styles vastly different from his versions, the infinite adaptability a testament to the quality of the material. Tony Tribe was the first, in 1968, to cut a reggae rendition of ‘Red Red Wine’, UB40’s self-acknowledged template for their wildly successful release of the song a quarter-century later. Jackie Edwards’ performance of ‘Girl, You’ll Be A Woman Soon’ is so tender that the original sounds almost gruff by comparison. No matter how you feel about Neil Diamond, if you’re a femme-pop fan, you’re going to need this disc for the tracks by Lulu, Marcie Blane, Jan Tanzy, Sadina and Billie Davis. If you favour the fellas, Cliff Richard’s ‘Just Another Guy’ sounds like a cross between the Everly Brothers and Bobby Vee filtered through Dion, while Jimmy Clanton appropriates the slogan of American greeting-card company Hallmark, “When you care enough to send the very best”, to suit his romantic needs. Ronnie Dove delivers an uncharacteristically energetic performance on the horn-and-handclap-propelled ‘My Babe’ and Billy Fury makes the Pitney-esque ‘Where Do You Run’ his own. How do you like your soul music? Bobby Womack takes an expressive approach to ‘Sweet Caroline (Good Times Never Felt So Good)’ that makes palpable the joy conveyed in the lyrics. Approaches as diverse as the Memphis sound (B.J. Thomas, the Box Tops and Arthur Alexander), Chuck Jackson-style big city soul (the Solitaires), and Motown (Four Tops, Jr Walker & the All-Stars) are all successful and satisfying. Adding still more diversity to the mix are the Rocky Fellers’ ‘We Got Love’, with their trademark marimba-driven Pacific Islander sound, and the surprisingly effective garage-rock stylings of the Music Machine and the Wanderer’s Rest, cementing the status of these songs’ universal appeal and versatility. If you didn’t think you were a Neil Diamond fan, it’s time to reassess your position, at least in terms of his formidable, diverse and affecting abilities as a songwriter. BY DAVID A YOUNG (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - A-Square (Of Course) The Story Of Michigan's Legendary A-Square Records. 25 tracks |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Adios Amigo - A Tribute To Arthur Alexander 17 tracks |
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Razor & Tie 1994 | CD | 10.00 € |
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| 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) |
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Ace Records 2012 | CD | 23.00 € |
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| VA: - Before The Fall - 24 Prelapsarian Cuts f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York. What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others. It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings. These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it. As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes. By Dan Maier (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Big Lizard Stomp Vol. 2 teen trash from psychedelic tokyo 66-69 |
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Planet X Records | LP | 15.00 € |
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| VA: - Bo Diddley Is A Songwriter In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…) One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager. Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley. Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides. As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday. If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition! By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Break-A-Way. The Songs Of Jackie DeShannon 1961-1967 Before her own breaktrough as a recording star, jackie DeShannon was one of the most in-demand songwriters of the 60s, providing material for everyone from Brenda Lee to the Byrds. This bumper collection features solo compositions and songs co-writeen with Jimmy Page, Jack Nitzsche and Sharon Sheeley, plus an exclusive previously unheard demo. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Burghers Vol. 1 Classic 60s Sounds From Steeltown |
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Big Wink Records | CD | 18.00 € |
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| VA: - Burghers Vol. 1 Classic 60s Sounds From Steeltown |
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Big Wink Records | LP | 17.00 € |
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| VA: - Bärenstark - Bear Essentials 27 stars salute Bear Family's 25th Anniversary. Great digipack sleeve with 80 page booklet |
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Bear Family 2000 | CD | 9.90 € |
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| VA: - CamPark Records - The British Invasion Vol. 13 27 tracks UK Rock (& some Roll) from the 60s |
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CamPark Records | CD | 18.00 € |
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| VA: - Chartbusters USA Vol. 2 29 tracks USA hits 1963-1969 |
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Ace Records 2002 | CD | 17.00 € |
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| VA: - Chartbusters USA Vol. 3 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969. Mastered from the best possible sources. Action-packed 28-page booklet. By ROB FINNIS Now into its third volume, CHARTBUSTERS USA is fast becoming an institution much in the same way as the highly acclaimed "Golden Age Of American Rock'n'Roll" series, from which it follows on chronologically. Chartbusters USA is characterised by the same near obsessive attention to detail and audio quality. Each record is individually annotated in the familiar "Golden Age" style and placed within a colourful mosaic of period photos, ads and illustrations that evokes the mood of the times almost as vividly as the music itself. To qualify for inclusion, every track on Chartbusters USA should have appeared on the US Hot 100 in the period spanning 1963-1969 and retained some, if not all, of the visceral quality that made it a hit in the first place. As with "Golden Age", some records are more obscure than others and therein lies the charm. Amid the majestic splendour of the rarely heard stereo mix of Sony & Cher's I Got You Babe and other mega-hits such as The Letter by the Box Tops, nestle unknowns such as Timmy Shaw whose Gonna Send You Back To Georgia had the misfortune to reach the Hot 100 at the same time as I Want To Hold Your Hand and was all but overwhelmed by the mad rush for Beatle product that gripped America in 1964. The Animals cut the song as the b-side of their first single, re-titling it I'm Gonna Send You Back To Walker. Then there's Ian Whitcomb whose cod R&B bash, You Turn Me On, was recorded in a demo studio in Dublin, Ireland where Whitcomb was studying at Trinity College. Befittingly, perhaps, the producer was Jerry Dennon who was also responsible for Louie, Louie by the Kingsmen. There is post-modern kitsch in the form of Guantanamera by the Sandpipers, Gale Garnett's wistful folk-pop classic We'll Sing In The Sunshine (regarded as one of the earliest feminist songs), the loping retro blues of Slim Harpo with Baby Scratch My Back, and soul stompers such as I Do by the Marvelows, a 1965 hit later successfully revived by J Geils Band. CHARTBUSTERS USA VOL 3 is not just another 60s comp but a total experience, the ultimate time capsule from a mythological age when every Fancy Dan saw himself as a would be Austin Powers and every Dolly Bird looked in the mirror and saw a nascent Stephanie Powers or a Twiggy or, quite possibly, a young Barbara Windsor staring back at her. So there you have it: 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969, all mastered from the best possible sources, together with an informative, action-packed 28-page booklet. Groovy! (Ace Records) |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Damals In Hamburg Biisit vuosilta 1961-1972 |
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Bear Family 1999 | CD | 17.00 € |
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| VA: - Das War Ein Harter Tag - Beatles Lieder - Auf Deutsch |
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Bear Family 1995 | CD | 17.00 € |
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| VA: - Dead ! The Grim Reaper's Greatest Hits "The Funny Side Of Death from the Grim Reaper's Juke Box" 24 biisiä vuosilta 1954-1974 |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - Delta Swamp Rock 2CD |
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Soul Jazz Records 2011 | 2-CD | 20.00 € |
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| VA: - Delta Swamp Rock Vol. 1 2LP Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s. At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life. The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall. The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis. Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s. This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads. |
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Soul Jazz Records 2011 | LP | 23.00 € |
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| VA: - Delta Swamp Rock Vol. 2 2LP Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s. At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life. The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall. The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis. Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s. This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads. |
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Soul Jazz Records 2011 | LP | 23.00 € |
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| VA: - Destroy That Boy ! More Girls With Guitars “Destroy That Boy!”, the sequel to 2004’s “Girls With Guitars”, delves into the world of garage femmes and all-girl bands in a quest to prove that females of the species do indeed rock, roll and even snarl. In the post-Beatles beat boom, many an impressionable lass was inspired to take guitar in hand and toe the line with their male counterparts, with at least 160 touring female bands in the USA alone. A select few hit the recording studio to leave their aural mark on the decade, from which Ace has melded the cream of crop with some solo sisters to create another healthy 24-track dose of girl garage goodness. This time old Blighty has its share of representatives, including fully-fledged female groups She Trinity and the Liverbirds. She Trinity – whose original members hailed from the UK, Canada and the USA, hence their somewhat confusing moniker – appear with their first and last (and most acclaimed) singles. The Liverbirds’ success was limited to their adoptive home of Germany, where they recorded two albums of R&B and rock’n’roll covers, three of which are showcased here. Schoolgirl duo the Termites get their pincers into a Stones classic, while South African ex-pat Sharon Tandy and Coventry’s Beverley Jones give out some gutsy performances too. From across the Atlantic, alluring society girls the What Four open proceedings. The cover shows the Debutantes from Detroit, whose talents and glamorous image scored them a far-eastern tour and gigs alongside Motown’s finest. Another pivotal group was the Feminine Complex, formed by lead guitarist and songwriter Mindy Dalton, who achieved the rare feat of releasing an LP, but here we’re treated to two demos, including their wonderfully lo-fi version of the Monkees’ ‘(I’m Not Your) Stepping Stone’, cut in their first incarnation as the Pivots. Elsewhere come the Starlets with an attitude-soaked take on ‘You Don’t Love Me’, Swedish bombshell Ann-Margret with both decks of her single for Lee Hazlewood’s LHI label and Raylene Loos and her cohorts the Blue Angels, who contribute a rollicking rendition of ‘Shakin’ All Over’. The Girls (nope, not the same gang as on “Girls With Guitars”) debut with an unreleased cut produced by Sly Stone, while woe betides the man on the receiving end of Aussie Toni McCann, who let’s rip with ‘No’. Jack Nitzsche protégée Karen Verros kicks off the mid-section with, a fuzz-laden mind-blowing gem written by Donovan. Project X (whose line-up included Scott McKenzie) delights with a jangly folk-garage affair and Cheryll & Pam wax lyrical in ‘That’s My Guy’. British Invasion off-shoots the Lady Bugs’ ode to the American fraternity is a hilarious romp and the wiggy Fondettes pay tribute to the mop-headed boys who started it all. Much more info on these artists is to be found in the glossy feature-packed booklet, which includes interviews with Jan McClellan of the Debutantes and Beverley Jones. So let the girls blow the dust of their guitars yet again and take a trip down to the tougher side of girl-groupsville. By MATT MEEK (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Do-Wah-Diddy words and music by Ellie Greenwich & Jeff Barry |
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2008 | CD | 18.00 € |
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| VA: - Don't Stop The Music - Pop from The Åland 1965-1971 2CD Ahvenanmaalaista Pop / Beat ja rock-musiikkia vuosilta 1965-1971 Åländska tonåringar var som alla andra när rocken svepte över världen på 50-talet. De hade hört Rock Around The Clock i filmen Vänd Dem Inte Ryggen, tjejerna höll på Elvis eller Tommy Steele och de som gick till sjöss kom hem med de senaste hitsen på vinyl från England och Amerika.Att spela dansmusik lönade sig. Den första generationen åländska popmusiker lärde sig hantverket på Solbacka och andra ungdomslokaler när dragspelet var ett viktigare instrument än elgitarren. På repertoaren stod schlager, vals och kanske någon litet snabbare jazzlåt då och då. |
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Riverside Records 2008 | CD | 20.00 € |
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| VA: - Dream Babes Vol. 2 - Reflections 22 Brit Girls Classics From the 60s |
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RPM 2001 | CD | 17.00 € |
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| VA: - Ed Sullivan's Rock'n'Roll Classics Gone Too Soon Groovy Soun 43 min |
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Eagle Vision 2006 | DVD | 9.00 € |
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| VA: - El Records - The Legendary B-Sides 2CD El Records is growing in stature as one of the most collectable of all labels. Vinyl copies of the El singles are becoming increasingly rare making these tracks even harder to find. The CD comes as two discs in one case and was specially compiled by label founder Mike Alway. |
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El Records 1995 | CD | 17.00 € |
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| VA: - Elvis Suomessa 2 ELVIS IN FINLAND, AGAIN! Dozens of songs of Elvis Presley’s repertoire have been recorded in Finland from the beginning of the 60’s and up ‘till these days – both in Finnish and in English. This obviously includes many sides of Elvis’s versatile recording career: rock tunes, ballads, country and movie songs. The new collection “Elvis in Finland 2” starts with a version of That’s All Right, Mama (Kaikki hyvin mama) by a legendary singer Rauli Somerjoki. This song comes from Elvis’s first and Rauli’s last recording session. Probably the most well-known Elvis movie songs in Finland, Flaming Star (titled Kohtalon tähti) and The Walls Have Ears (Seinillä on korvat) are both naturally included on this cd. Early Finnish rock’n’rollers, like Jussi Raittinen, Rock Jerry and Pekka Loukiala, have their own versions on this collection too. There are also a couple of rarities on the collection. One of them is Summer Kisses, Winter Tears (Kesän suukot talvi vei) which is the only single release by a singer called Richard. Some fine arrangements can be found as well: an a cappella group Veeti And the Velvets delivers a very nice version of King Creole and the late Tapio Heinonen sings beautifully his version of Mary in the Morning (Kaunein aamuisin). “Elvis Suomessa – in Finland vol. 2” celebrates the 25th Anniversary Year of The Official Elvis Presley Fan Club of Finland. Cd includes the following songs in English: Baby Let’s Play House, My Baby Left Me, Don’t Be Cruel, King Creole, Suspicion, Return to Sender and All That I Am. |
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AXR Music 2010 | CD | 18.00 € |
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| VA: - Fairytales Can Come True UK Popsike from the late 60s. Pressed on 180g vinyl. |
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Psychic Circle | LP | 15.00 € |
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| 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) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Found In The Attic Vol. 1 |
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Attic Records 1998 | CD | 18.00 € |
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| VA: - Found In The Attic Vol. 2 |
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Attic Records 1998 | CD | 18.00 € |
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| VA: - Found In the Attic Vol. 3 |
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Attic Records 1999 | CD | 18.00 € |
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| 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) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Girls With Guitars 24 tracks 60s girlgroups |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Goin' Home - A Tribute to Fats Domino 2CD = 30 tracks |
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Emi 2007 | CD | 23.00 € |
