| VA: - Goin' Home - A Tribute to Fats Domino 2CD = 30 tracks |
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Emi 2007 | CD | 23.00 € |
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| VA: - Have You Seen My Baby ? - Ember Sixties Pop Vol. 4 The celebration of the Sixties Pop side of Ember Records continues with the years 1964 to 1966. Have You Seen My Baby? is the fourth instalment of the series following on from Hello My Angel: Ember Sixties Pop Volume 3 (FVCD042). As well as singles, the label started releasing pop albums in this period and we have concentrated on selections from three fine LPs. The WASHINGTON DC’S gained their only album appearance by supplementing the two sides that the Dave Clark Five had cut for Ember. The LP was titled Dave Clark Five And The Washington DC’s, issued in August 1965. Although Dave Clark has since wisely scooped up his own back catalogue, six excellent performances by the Washington DC’s are reissued here for the first time. RAY SINGER’s January 1966 long-player For Those In Love gathered up five sides from his first three 45s. The third single I’m The Richest Man Alive / Pretty Little Ramblin’ Rose is included here together with four album-only tracks and Over The Weekend from a 1964 EP. A notable bonus is Ray’s previously unreleased version of The Girl Can’t Help It. The very next Ember album issued after Ray Singer was MARCUS TRO’s Introducing Marcus Tro. Six LP-only tracks, two of which showcase Marcus’s songwriting talents, get their first digital release on this compilation. CHAD & JEREMY continued their hit run in America and two of their biggest Willow Weep For Me and If I Loved You are represented in their mono single format. GRANT TRACY had recorded the Mark Wirtz written and produced numbers on this CD for Ember in 1965 but they were not issued at the time. The original albums are highly collectable (mint copies of Washington DC’s are valued at £30, and both Ray Singer and Marcus Tro at £40 each). Subsequent volumes will carry the story through to the end of the sixties, with further sought-after tracks included. The series is complemented by compilations devoted to beat and rock from the Ember vaults. Recordings are mastered from tape, where available, and booklets illustrated with sleeve and label shots. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Hei Vain My Only One - Westerlund & Emi Years Part One 2CD 2CD = 44 tracks |
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Emi Finland 2007 | CD | 12.00 € |
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| VA: - Heroes Of Pub Rock - Living On The Front Line Ducks Deluxe, Nick Love, Das Luftwaffegeschaft, The Pirates, Wilko Johnson And Lew Lewis Band, Mick Green |
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Magnum Music 1994 | CD | 15.00 € |
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| VA: - Hits Of The 60's 3CD 3CDs = 54 tracks |
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Pegasus 2001 | CD-Box | 9.00 € |
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| VA: - Honky Tonk - Charlie Gillett's Radio Picks had just passed my thirtieth birthday when I got my own radio show in March 1972, being set loose to play pretty much whatever I wanted, Sunday lunchtime on the BBC’s local FM station, Radio London. Just 45 minutes at first, it was fairly soon extended to an hour and then to two hours, broadcast every week until 31 December 1978. For a while, all I wanted to do was play every great record with rock’n’roll in its blood, many of them rarely, if ever, heard on British radio, and most of them emanating from the southern states of America. In those days, pop music in the UK was played on medium wave stations and this show on FM radio might easily have remained a well-kept secret if it had not been championed by John Collis, radio correspondent for London’s weekly listings magazine Time Out. When John heard the rumour of the show he called up a week or so ahead of the first programme to ask what I was planning to do; it soon became clear that he needed some kind of identity for each programme in order to be able to justify mentioning it on a regular basis. So I began with a programme of records made in New Orleans and Louisiana, and returned to that region several times, as well as moving west to Texas and even further out to California, north to Memphis and Chicago, and often grouping records with particular themes. I can no longer remember how I ran across every track included here, but probably as many as half of them were tips of one kind or another, while many of the others had been unearthed during the previous five-year period when I was working on a history of popular music, called The Sound Of The City, which traced the emergence and evolution of rock’n’roll out of independently-recorded R&B and country music in the late 1940s and early 50s. As the grapevine spread, listeners started to get in touch to tell me about records I seemed unaware of, not only obscure originals from the 1940s and 50s, but current artists too. I had a pretty frosty attitude towards a lot of current British pop, even though much of it was made by people my own age and with similar tastes. I never did play T Rex, Roxy Music, Wizzard or Slade but was thrilled to make room for JJ Cale, Jesse Winchester and Delbert McClinton. No coincidence, most of them were from the American South too. Among the regular listeners were many people who knew far more than I did, some of them dedicated to finding every possible piece of information about the records they liked best – dates and locations of when and where they were recorded, names of any and all sessions musicians and which little label released the record first. Such people can be notoriously possessive of what they have discovered, but I was lucky to be befriended by Bill Millar, John Anderson, Ray Topping, Errol Dixon, Rob Finnis and others, who between them managed to make up for my woeful ignorance and gave me a much better education than I ever had in school or university. As far as I was concerned, Honky Tonk was a shared forum and bulletin board for the music we all revered. One of the greatest surprises was that the programme drew an audience of real live musicians in London, who liked this kind of music themselves, and some of them began to submit their demo tapes. By Charlie Gillett (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Immediate Hit Story Vol. 1 15 biisiä |
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Charly Records 1993 | CD | 10.00 € |
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| VA: - Immediate Hit Story Vol. 2 16 biisiä |
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Charly Records 1993 | CD | 10.00 € |
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| VA: - Immediate Mod Box Set 3CD 3CDs = 50 tracks |
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Castle Music 2005 | CD-Box | 25.00 € |
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| VA: - James Burton - The Early Years 1956-1969 The story of James Burton’s early years told in this fine new compilation revolves around fast recognition of his talents by key US musicians who witnessed the teenager’s playing enhancing records with distinctive and memorable licks. A similar recognition occurred in far off North London in 1967 when I began to track down albums on which Burton featured for another precociously talented guitarist, Richard Thompson, who during the early days of Fairport Convention was soaking up so may diverse musical influences. Richard had heard Burton’s playing on some Rick Nelson tracks and enthusiastically asked if I could find as many of Rick’s albums on the Brunswick label as possible. Amongst the ones located were “Spotlight On Rick”, “For You”, “The Very Thought Of You” and possibly the cream of the crop, 1966’s “Bright Lights And Country Music”. It was on the latter that Burton was the only musician name-checked by Rick, a most unusual accolade at that time. Having listened to the album with Richard, a swift return to the shop quickly secured a second copy for my own collection. James Burton’s story really kicked off with his distinctive playing on Dale Hawkins’ ‘Suzie-Q’ in 1957, though earlier work is included here. Soon after he worked with producer Jimmie Haskell on enhancing key tracks from Bob Luman and Bobby Lee Trammel, but the next step up came when Haskell introduced him to Rick Nelson. Burton was still only 17 in 1958, but immediately became the cornerstone for Rick’s road and recording band as he entered his halcyon hit days. Having such a strong back-up guitarist must have given the shy singer a great deal of added confidence. James Burton was to Rick Nelson as Scotty Moore was to Elvis, and Hank Marvin to Cliff Richard. With his work with Rick Nelson came credibility within the recording industry, allowing Burton to fully develop a session career that was every bit as important. The 60s saw him working with Lee Hazlewood, the Everly Brothers, Merle Haggard and even Buffalo Springfield on Richie Furay’s ‘A Child’s Claim To Fame’. Along the way he found time to be part of the Shindogs, the house band for the Shindig TV show, and a brace of their released tracks are also included. As Burton acknowledges, it can be quite easy for fans to miss much of his prolific work, including as it did playing with artists such as Nat King Cole, Ray Charles, Sinatra and Elvis. This comp not only begins to tell the story, but also illuminates the darker corners via rare recordings that are so beloved of collectors. A second volume is planned that will take in Emmylou Harris, Gram Parsons and Elvis, but for now let’s marvel at Burton’s journey from Shreveport’s Louisiana Hayride house band in 1957 to the later 60s when he was fully established as the guitarist that everybody wanted in their corner. By Kingsley Abbott (Ace Records) |
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Ace Records 2011 | CD | 18.00 € |
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| VA: - Joe Meek's Groups A follow on compilation to RPMs highly successful Joe Meeks Girls comes this round up of several important group acts on Meeks books. The most notable are the Syndicats whose single Crawdaddy Simone, their last in 1966, is stupidly rare and valued at £300 !!!! Happily RPM can report that the recording on this compilation is taken from the original master tape. The track has its rarity value as an uncommon 'piece of Meek' but also in itself has a reputation for being just about the toughest freakbeat single ever Ray Fenwick's guitar burst in the middle seals it. RPM’s series of Joe Meek collections is the way to make sense of the residual Meek archive, and this package is enhanced by comprehensive notes and pictures courtesy of long time Meek archivist Roger Dopson. |
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RPM 2001 | CD | 17.00 € |
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| VA: - Kill Bill Vol. 1 Soundtrack Kill Bill ykkösen soundtrack |
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Maverick Recording Company 2003 | CD | 10.90 € |
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| VA: - Marijuana Unknowns Vol. 1 A collection of late-sixties pop and psych tunes about pot |
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Stoned Records | CD | 18.00 € |
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| VA: - More Miles Than Money 2CD More Miles Than Money: Journeys Through American Music is a book I researched and wrote between 2006-2008. In many ways I’d been waiting my entire life to write More Miles. Growing up in Mt Roskill – a working class suburb of Auckland, New Zealand, where there were no music venues, cinemas, pubs, nothing but churches and rugby fields – I took refuge in Mark Twain and Jack Kerouac’s adventures while AM radio (modelled on US radio) spun hits by Freddy Fender, the Amazing Rhythm Aces, Little Feat et al. I dreamed of escaping Auckland’s suburbs to ride Route 66 and Highway 61, ears and eyes open. Eventually I got to live my dream and More Miles is the story of those travels. I didn’t know it back then but Kiwi radio was often playing music akin to that which Charlie Gillett played on his Honky Tonk radio show in London. Discovering Charlie’s book The Sound Of The City sent me scouring through secondhand bookstores in search of old copies of Cream, Creem and Let It Rock, where the writings of Charlie and other likeminded journalists appeared. I’d go so far as to say that a feature Charlie wrote on the great New Orleans producer-arranger Harold Battiste (Cream #5, Sept 1971) was what initially inspired me to want to search out the largely unsung heroes of American music. At the same time as reading Charlie Gillett I was buying US imports on a variety of labels, with Arhoolie being my favourite. Mexican culture fascinated me, especially that which arose from the borderlands, the Tex-Mex/Tejano music. (Blame this on my dad taking me to see Sam Peckinpah’s westerns.) Discovering a bin full of Arhoolie Records in a downtown record shop introduced me to a treasure trove of magical Mexican American music and reading about Arhoolie founder Chris Strachwitz’s efforts to record the finest American vernacular music provided even more inspiration. Later on, Canyon Records would open my ears to how Native American culture celebrated its survival. Around the same time an uncle who loved jazz gave me Curtis Mayfield’s “Superfly” album – he found it too funky for his tastes. Talk about life-changing records: to this day Curtis remains my favourite US soul singer. I dedicated More Miles Than Money to Charlie, Chris and the indomitable spirit of Curtis Mayfield. Tragically, Charlie died earlier this year. He, like Curtis, lives on as an indomitable spirit and continues to inspire me. This compilation is, again, dedicated to Charlie, Chris and Curtis: the three Cs who helped me hear America. More Miles Than Money reflects on an America that made the mightiest music of the 20th Century. This compilation aims then to salute those who inspired me to ride US highways and document those I encountered as I wandered through honky-tonks, juke joints and barrios. Enjoy! By Garth Cartwright (Ace Records) |
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Ace Records 2010 | CD | 20.00 € |
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| VA: - Next Stop Is Vietnam - The War On Record 1961-2008 (13-CD set, LP-sized slipcase with 304page hardcover book. 334 tracks, playing time: more than 16h:49min). The most comprehensive anthology of music inspired by the Vietnam War ever released. Over 330 titles covering all facets of the war and its aftermath featuring The Doors, Bob Dylan, Joan Baez, Bruce Springsteen, Johnny Cash, Merle Haggard, John Lennon, Yoko Ono, Country Joe McDonald and dozens of other artists. Rarely heard documentary material including patriotic Public Service Announcements, field news reports and intercepted North Vietnamese radio transmissions of Jane Fonda and Hanoi Hannah. A heavily illustrated, full-colour 304-page book containing extensive artist/song notes, Vietnam War history and recollections by vets on their favourite songs. Two discs of music exclusively by Vietnam veterans. Never-before-released tracks recorded during the war by in-country soldiers. Mister, Where Is Vietnam ...NEXT STOP IS VIETNAM: The War On Record, 1961-2008 is a stunning, years-in-the-making anthology of the Vietnam War's musical legacy. Presented on 13 CDs with a 304-page book illustrated with numerous archival photographs, this collection examines the war in a powerful and unprecedented way. Over 330 music and spoken word tracks take the listener through a guided tour of this epochal period of modern history. From America's first, na‹ve impressions of a country called Vietnam through the spirited musical debate over the morality of the war to the healing meditations on the conflict's lengthy aftermath, this set captures it all and more. Bob Dylan, Joan Baez,Merle Haggard, Pete Seeger, Bruce Springsteen, Phil Ochs, Johnny Cash, Yoko Ono, John Lennon, The Doors, Country Joe McDonald and dozens of other artists including many Vietnam veterans are the tour guides through this enlightening and entertaining journey. - The full-color book that accompanies the music is packed with information on the songs and the artists who recorded them by music scholar Hugo A. Keesing; a history of the war by Vietnam historian Lois T. Vietri; and an oral history of the tunes that 'incountry' vets loved best by authors Doug Bradley and Craig Werner. The introduction to this remarkable tome is written by the legendary Country Joe McDonald. Strap in for a long and fascinating ride ...NEXT STOP IS VIETNAM. |
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Bear Family 2010 | CD-Box | 200.00 € |
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| VA: - Nightmares In Wonderland limited edition 1000 copies numbered pressing. deluxe gatefold sleeve |
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Rubble | LP | 13.00 € |
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| 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) |
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Ace Records 2013 | LP | 25.00 € |
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| VA: - Oldiebörse - Cover Und Original 30 biisiä - originaali ja cover versioita tunnetuista hiteistä. |
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Bear Family 2008 | CD | 17.00 € |
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| 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) |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Piccadily Story 2CD 52 biisiä |
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Sequel Records 1993 | 2-CD | 20.00 € |
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| VA: - Pop in Germany Vol. 1 |
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Bear Family 2001 | CD | 17.00 € |
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| VA: - Psychedelic Unknowns Vol. 11 - Slowly Growing Insane 14 psychedelic unknowns |
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Timothy's Brain | CD | 18.00 € |
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| VA: - Psychedelic Unknowns Vol. 4 |
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Scrap Records | LP | 17.00 € |
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| VA: - Psychedelic Unknowns Vol. 6 |
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Scrap Records | LP | 17.00 € |
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| VA: - Psychedelic Unknowns Vol. 8 |
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Scrap Records | LP | 17.00 € |
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| VA: - Pulp Fiction |
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MCA Records 1994 | CD | 10.00 € |
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| VA: - Revival - Brunswick Stew & Pig Pickin' 17 tracks |
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Yep Roc Records 1997 | CD | 15.00 € |
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| VA: - Rock Hits Of The Sixties 16 tracks 60s rock |
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Chekaway Publishing | CD | 18.00 € |
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| VA: - Rock'n'Roll Highschool soundtrack: Chuck Berry / Alice Cooper / Todd Rundgren / Brownsville Stations / Ramones / Nick Lowe / Brian Eno etc |
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Sire Records | CD | 9.90 € |
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| VA: - Rubble Vol. 5 - Electric Crayon Set 2LP limited edition 1000 numbered. All new liner notes. deluxe gatefold sleeve |
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Forlp | LP | 17.00 € |
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| 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) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Seventeen And A Half is still Jailbait 17 biisiä mm Electrick Frankenstain, Grey Spikes, Panty Boy, Bonk, Anal Babes Brand Of Shame etc |
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Demolition Derby 1997 | CD | 9.90 € |
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| 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 |
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Ace Records 2008 | CD | 25.00 € |
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| VA: - Standing In The Shadows 2LP A Tribute to the golden days of the Rolling Stones 1963-67 |
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Corduroy Records 2002 | LP | 25.00 € |
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| 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 |
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Prenium Publishing 2008 | CD-Box | 45.00 € |
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| VA: - Straight To Hell Returns: Original Soundtrack 28 biisiä - cult offbeat spagetti western leffan soundtrack vuodelta 1987 |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - Stuff This In Your Stocking ! Elves In Action XMAS TIME W/ PINKSLIPDADDY,RUSSTOLMAN... |
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Veebltronics Records 1990 | CD | 17.00 € |
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| 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. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Super K Kollection Vol. 1 |
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Collectables | CD | 13.00 € |
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| VA: - Tee-Vee Tops Die Songs und Originale aus der TV-Werbung. 18 tracks |
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Gee Dee Music 1996 | CD | 12.00 € |
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| 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) |
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Ace Records 2004 | CD | 17.00 € |
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| 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) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Today's Top Girl Groups Pebbles, Sit N Spin, Diaboliks, Godzillas, Poontwang, Holly Golightly, Neanderdolls, Mean Geanies, Bobbyteens, 5678s, Prissteens etc |
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Spinout Records 1998 | CD | 17.00 € |
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| VA: - Treating Her Wrong 24 Sweetheart & Heartbreak Songs |
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Jasmine Records 2006 | CD | 12.00 € |
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| VA: - Turban Renewal - A Tribute To Sam The Sham & The Pharaohs 26 tracks |
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Norton Records 1994 | CD | 17.00 € |
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| VA: - You Baby: Words And Music by P.F. Sloan And Steve Barri Together with his writing partner Steve Barri, Phil (P.F.) Sloan effectively invented the concept of the self-contained singer-songwriter (as documented on “Here’s Where I Belong” CDWIKD 277). Sloan & Barri’s songbook was widely plundered for cover versions throughout the 60s and beyond. It’s this side of their work that makes up “You Baby”, the latest in Ace’s songwriters series. Sloan & Barri’s partnership was forged by producer Lou Adler in 1963, though the guys had each already released a number of sides as performers for a variety of labels, with somewhat limited success. Playing off each other’s strengths, they instantly formed a great working relationship, with Sloan as the more experienced musician and Barri as the studio head. From their surf’n’turf beginnings through era-defining folk rock and beyond, “You Baby” maps out a brilliant and fascinating career path packed with pop standards. While their best-known early numbers are hedonistic fun-in-the-sun anthems such as ‘Tell ’Em I’m Surfin’’ and ‘Summer Means Fun’, their remit was wide enough to encompass girl group influences in ‘You Say Pretty Words’ by Ramona King and the latin-tinged sounds of Betty Everett’s ‘Someday Soon’. Meanwhile, they also had to contend with a furious release schedule of their own, recording under a wide variety of guises including the Fantastic Baggys and Philip & Stephan, not to mention their in-demand status as session guys, appearing as musicians or singing backups on many of the tracks compiled here. Sloan had always been the more performance-oriented of the two and when folk rock hit it clearly affected his modus operandi more than Barri’s. The solo Sloan writing credit on hits such as ‘The Sins Of A Family’, ‘Let Me Be’, ‘Take Me For What I’m Worth’ and, of course, ‘Eve Of Destruction’ put a certain amount of strain on the duo. Nevertheless, the years 1965 and 1966 were their most commercially successful. Joyous, euphoric pop still poured out of them. Perfect pop gems such as ‘Can I Get To Know You Better’, ‘You Baby’, ‘Where Were You When I Needed You’ and ‘I Found A Girl’ were all major successes and are all featured here. Inevitably, it couldn’t last. The artistic and commercial pressure they were under – not to mention their increasingly divergent musical paths – forced a premature split. Steve Barri stepped in as replacement for the departing Lou Adler as staff producer at Dunhill, while Sloan’s burgeoning career as a singer-songwriter dissipated, though has recently undergone something of a renaissance. This marvellous collection of classics and rarities should seal Sloan & Barri’s reputation as key chroniclers of their time. By Harvey Williams (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - You Heard 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) |
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Ace Records 2009 | CD | 17.00 € |
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| Veltto Virtanen - Tahdon vanha LP vihdoin CD. Mukana 6 bonusbiisiä. |
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Zum Teufel 2006 | CD | 15.00 € |
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| Velvet Underground - Loaded 1970 album now on CD |
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Warner Music | CD | 10.00 € |
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| Velvet Underground - The Velvet Underground 180 gram vinyl |
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MGM Records | LP | 15.00 € |
