| Dave Edmunds - Subtle As A Flying Mallet albumi vuodelta 1975 |
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RPM Records 2013 | CD | 17.00 € |
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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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| Bob Lind - Finding You Again Spread the news. Reclusive folk-rock singer/songwriter Bob Lind – he of the classic 1966 megahit ‘Elusive Butterfly’ – has just released his first studio album in more than 40 years! “Finding You Again” demonstrates conclusively that genius can continue to flourish, even into an artist’s advancing years. Long known by music-business insiders for his self-destructive battles with the record industry, Bob Lind was, by his own admission, “poison to work with”. Now, thanks to veteran rock guitarist/producer Jamie Hoover, he has emerged with an album of new music that proves his craftsmanship has not only held up but improved and evolved since the 60s. Hoover’s sensitive, versatile production perfectly complements the songs – giving each cut the care and specific shading it deserves. Clean and sober more than 35 years, Lind reveals a late-blooming but tangible personal and artistic maturity in these new songs. He retains the astonishing lyrical virtuosity that brought him critical acclaim when he was in his early 20s, but his melodic scope has broadened and become even more accessible. Amazingly, his voice is stronger and more expressive than ever. The 13-song disc easily bypasses the criticism sometimes levied at singer/songwriters: that their songs all sound the same. Just contrast the rough-rocking self-condemnation of ‘How Dare You Love Me’ and the poignant, tentative soul-searching of ‘Maybe It’s The Rain’. Each song is different from the others, yet all contain the special stamp of one of America’s most passionate songwriters. Lind’s fearless self-honesty is almost uncomfortable to listen to at times. He reveals his darkest corners without ever coming off as self-indulgent, as evident on ‘The Gravity Of The World’. But there’s also a lot of joy in this album. ‘Let It Go’, ‘Exeter (The Wedding Waltz)’ and the vigorous, percussive Caribbean-flavoured title song demonstrate that Lind has not become closed-up and bitter with the passing of time. And there’s a first-ever in the inclusion of a song Lind didn’t write: Peter Allen and David Lasley’s ‘Somebody’s Angel’. Addressing the groundswell of excitement surrounding this release, Lind says, “It’s just endurance. That’s all it is. If you don’t quit and you don’t die, sooner or later the world – or at least a special part of the world – takes notice. I’m just grateful that Jamie and Ace Records came along at this perfect time.” By Roger Edmunds (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| Dion - Yo Frankie If ever there was a couplet to re-establish the early stance of Dion records, it can be found in ‘King Of The New York Streets’: “I didn’t need no bodyguard. I just ruled from my backyard”. This opening track on “Yo Frankie”, Dion’s 1989 album that has long been on Ace’s re-release wish list, sets the scene firmly amid the pavements and haunts of the Big Apple, recapturing in one song all the imagery and associations we have from the man’s classic 50s and early 60s hits. “Yo Frankie” came about after Clive Davis and Roy Lott, the president and vice-president of Arista Records, had watched Dion perform at Radio City in 1987 and immediately offered him the chance to cut an album for them. Dave Edmunds, whose work Dion admired, was chosen to produce the record. Edmunds enlisted key players – including bassist Phil Chen, drummer Terry Williams and keyboard player Chuck Leavell – to form a tight rocking unit to drive the album. Dion prepared a wonderful set of songs, many written with his good friend Bill Tuohy, with others by Diane Warren, Bryan Adams and Tom Waits. Alongside the quality of the material and Dion’s vocal performance, one of the most successful elements of the album is the cohesiveness of the production. Edmunds achieves a strong contemporary rock feel strongly rooted in his Rockpile work that effortlessly offers a bridge back to the feel of Dion’s earlier recordings. There are just enough echoes of the past to make everything seem familiar while still feeling fresh and new. Dion’s vocal inflections extract the maximum from the lyrical imagery, notably on the castanet-filled ‘Always In The Rain’, his favourite track on the album. The sessions for the album attracted many big names to the studio, including Bryan Adams, who wrote, produced and played on ‘Drive All Night’. Paul Simon takes the lead and layered harmonies on the affectionately inserted ‘Little Star’ section of ‘Written On The Subway Wall’. As Lou Reed, another guest background vocalist, said in Dion’s Rock And Roll Hall Of Fame induction speech (reproduced in full in the booklet), “Dion could do all the turns. He had the chops and practically invented the attitude. After all, who could be hipper than Dion.” The “Yo Frankie” album stands as one of the real high points in Dion’s canon. We at Ace are totally delighted to add it to our extensive catalogue of his work. By Kingsley Abbott (Ace Records) |
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Ace Records 2012 | CD | 13.00 € |
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| Marty Cooper - I Wrote A Song It’s likely that many of those reading this will know Marty Cooper from songs he wrote in the 1960s: the Marathons’ ‘Peanut Butter’, Stevie Wonder’s ‘Hey Harmonica Man’ and Jack Nitzsche’s symphonic epic ‘The Lonely Surfer’, to name just three. They might also be familiar with ‘A Little Bit Country, A Little Bit Rock’n’Roll’ or Donna Fargo’s country #1 ‘You Can’t Be A Beacon (If Your Light Don’t Shine)’, the records Marty made with Lee Hazlewood as a member of the folksy Shacklefords or the singles he produced on R&B vocalist Bobby Day. This first-time reissue of his 1970s albums provides a welcome opportunity to catch up with his subsequent career as a soft rock country-style singer-songwriter. Marty’s first album, “A Minute Of Your Time”, was released on Andy Williams’ Barnaby label in 1972. “Ken Mansfield had done an album with Rick Cunha, my friend from the group Hearts & Flowers,” recalls Marty in the booklet. “Ken had just gotten his job at Barnaby. I showed him what I was doing and he gave me my opportunity to be a recording artist. He let me pick the songs and we produced the album together.” Musicians on the record include jazz guitarist Larry Carlton, steel-player Richard Bennett, drummer Johnny Guerin from Joni Mitchell’s band, John McKuen of the Nitty Gritty Dirt Band, fiddle-player Bobby Bruce and pianist Larry Muhoberac, who also provided the arrangements, with Kim Carnes and Brooks Hunnicut on background vocals. 1979’s “If You Were A Singer” was issued on EMI Germany and in other countries around the world, but not in theUSA, due to what Marty refers to as “misplaced political correctness”. The album was produced by Marty with help from Michael Lloyd, Al Capps and Larry Muhoberac and includes notable contributions from background vocalists Rhodes-Chalmers-Rhodes and Maxi Anderson. “My main influence as a songwriter was border radio, the Mexican stations that came into the United States and played country music,” concludes Marty. “I spent many, many long hours alone in my room listening to those songs. I was fascinated that they could make you laugh, and the next one could make you cry. I was the only kid in school who listened to country music or certainly knew who Bob Wills was. I eagerly awaited every new release on every label. That’s where my impetus came from. I was impacted by those songs, like some people might be impacted by opera or a sentimental movie. They influenced me to try to play guitar and write songs. My first efforts were extraordinarily derivative, but I found my way. I couldn’t stop writing and I’m still writing.” By Mick Patrick (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| Phil Spector - Designing The Wall Of Sound 2CD Designing The Wall of Sound - "I Love How You Love Me" and 47 Other Bricks in the Wall Following on from the success of 'Building the Wall of Sound - JASCD 582' Jasmine are proud to continue charting the early career of rock's greatest producer, Phil Spector. 48 tracks across 2 CDs with early work by, Ben E. King, Johnny Nash, Gene Pitney and more! Don't miss the first releases on Phil Spector's own label by The Crystals and the first ever version of 'Twist & Shout'! Fully detailed liner notes continue to cover his entire history. |
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Jasmine Records 2012 | CD | 13.00 € |
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| Rolling Stones - Doom And Gloom Jeff Bhasker Mix |
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Universal International Music 2012 | 10" LP | 15.00 € |
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| Shocking Blue - Love Buzz 2x10" Shocking Blue from the Beat-scene of the Hague of the 1960s was the first Dutch band to have a #1 hit in the US, 'Venus'. After a number of other hits and international tours, the band sadly split in 1975. Their influence on music passed on to new generations; both Nirvana and The Prodigy covered the song 'Love Buzz' at some time in their careers. 'Love Buzz', the new vinyl-only compilation released specially by Music On Vinyl, is a collection of their best hits. It's ssued in a gatefold sleeve on two 10" with a swelteringly sexy poster of singer Mariska Veres. A special treat awaits the early birds: the first batch of 500 copies will be pressed on shockingly blue vinyl! • 120 grams audiophile 10" vinyl • Gatefold sleeve • Music On Vinyl exclusive compilation • Includes Poster • First 500 limited on Blue vinyl |
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Music On Vinyl 2012 | 10" LP | 25.00 € |
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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: - 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: - 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: - 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: - 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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| Willy DeVille - Live In Paris And New York With his mariachi-flavoured take on ‘Hey! Joe’ high in European charts across late 1992 and early 1993 and his “Backstreets Of Desire” album (now available on Ace) shifting over 300,000 copies, Willy DeVille found himself, after many years of struggle, a genuine star across the Continent. Success brought larger audiences and more extensive tours, something DeVille had long strived for. A tall, striking-looking man who dressed like a 19th Century riverboat gambler with a pencil moustache, long, swept back black hair and extravagantly tailored suits, shirts, shoes and ties, Deville commanded the stage, singing with a rare candour and expressiveness. As he was now playing to new audiences who were largely unaware of his Mink DeVille recordings, his French label FNAC decided to service the new fans with a live hits album. Philippe Rault, the French producer who had overseen “Backstreets” (and produced ‘Hey! Joe’), took control. He decided on the Bottom Line in New York, so to pay tribute to the city in which DeVille had honed his craft, and the Olympia in Paris, the city that made him a star. With the success of DeVille’s New Orleans recordings (see Ace’s “Willy DeVille In New Orleans” CD), Eddie Bo and three of the Wild Magnolias (Chief “Bo” Dollis, Chief “Monk” Boudreaux and Norwood “Gitchie” Johnson) were invited to join proceedings. The songs performed range across DeVille’s recording career with only ‘Hey! Joe’ and ‘Bamboo Road’ being from “Backstreets”. His interpretations of ‘Spanish Stroll’ and ‘Mixed Up, Shook Up Girl’ match (and possibly even better) those cut with Jack Nitzsche on Mink DeVille’s debut album “Cabretta”. Freddy Koella, the gifted French guitarist who joined DeVille in New Orleans in 1990 and would stay with him until 2002 (upon which he joined Bob Dylan’s band), led a large ensemble with the Valentines providing backing vocals and the Brass Attack Horns adding a suitably greasy top. “Live” – subtitled “Greatest Hits ’76-’93” – was released on CD and double vinyl late-1993 to strong sales, especially in France, Spain (where ‘Demasiado Corazon’ was a hit and “Live” topped the album chart), Switzerland, Germany and Holland. In France “Live” received the prestigious Prix de l’Académie Charles-Cros. “Live” was not released in any Anglo-territories – this reissue on Big Beat rescues the album from oblivion (FNAC collapsed in 1994) and finally makes it available to DeVille fans in the English-speaking world. DeVille dedicated “Live” to Steve Douglas, the majestic saxophonist who played on and produced Mink DeVille’s “Return To Magenta” and “Le Chat Bleu” and died in 1993. Ace’s reissue of “Live” comes with extensive notes featuring interviews with all the surviving principals involved, illustrated with previously unseen photos and memorabilia. The album presents an artist at the height of his powers. Any fan of late-20th Century American music will find much to enjoy here. By Garth Cartwright (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| All About Eve - Touched By Jesus gothic rock album originally released 1991 |
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Talking Elephant Records 2011 | CD | 17.00 € |
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| Buckingham Nicks - Crying In The Night / Crying In The Night The fantastic opening track of Buckinghmam Nicks super rare 1973 LP on Mono and Stereo versions! Great repro 45 with black & white picture sleeve… classic! PURPLE colour vinyl |
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Polydor 2011 | Single/EP | 10.00 € |
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| Elvis Presley - From Elvis In Memphis 'From Elvis in Memphis' is the thirty-fifth album by Elvis Presley originally released in 1969. The recording of the album marked the definite return of Presley to non-soundtrack albums, after finishing his movie contract with Paramount pictures. Motivated by his early influences in country, rhythm and blues, and the latest music trend in Memphis being gospel and soul, Presley chose to record these songs at the Memphis-based American Sound Studio. • 180 grams audiophile vinyl |
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Sony Music Entertainment 2011 | LP | 20.00 € |
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| Emerson Lake & Palmer - Trilogy |
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Music On Vinyl Records 2011 | LP | 20.00 € |
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| Evie Sands - Suspended Animation As a writer her songs have been covered by Dionne Warwick, Barbara Streisand, Dobie Gray, Dusty Springfield, Frankie Valli, Gladys Knight, Arthur Prysock, The Manhattans, Cher/Greg Allman, Jose Feliciano, PhyllisHyman, Brenda & The Tabulations, The Persuasions, Ronnie Spector, Hot, Betty Everett and Karen Carpenter, Helen Reddy, Linda Clfford, June Pointer, The Weather Girls, Jet Brown, Ramona Brooks, and Shirley Bassey. Elvis Presley was recording one of Evie’s songs for an album but died and so vocally incomplete it was never released. Often named as one of Dusty Springfield’s favourite vocalists, Brooklyn-born brunette Evie Sands is one of the most highlyr egarded female singers of the 1960s Brill Building era, and also a respected favourite on the northern soul scene. She released Suspended Animation in 1979 and is joined on the record by an impressive cast of musicians, while the singer herself plays keyboards: piano, Rhodes, clavinet, Elec.Piano throughout. Buzzy Feiten, Reggie McBride and James Gadson, Lee Ritenour, Richie Zito and Steve Lukather, Greg Phillinganes, Ian Underwood. And the backing vocalists included Bill Champlin, who went on to join Chicago, Bobby Kimball of Toto, and Tom Kelly (who co-wrote Like A Virgin for Madonna),The Waters and the immortal Dusty Springfield. |
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Superbird Records 2011 | CD | 15.00 € |
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| George Thorogood And The Destroyers - 2120 South Michigan Ave. |
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Capitol Records 2011 | CD | 18.00 € |
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| George Thorogood And The Destroyers - 2120 South Michigan Ave. 2LP 2120 South Michigan Avenue, home of Chicago’s Chess Records, may be the most important address in the bloodline of the blues and rock ‘n’ roll. That address – immortalized in the Rolling Stones’ like-named instrumental, recorded at an epochal session at Chess in June 1964 and included on the band’s album 12 X 5 – serves as the title to George Thorogood’s electrifying Capitol/EMI salute to the Chess label and its immortal artists. Thorogood has been essaying the Chess repertoire since his 1977 debut album, which included songs by Elmore James and Bo Diddley that originated on the label. He has cut 18 Chess covers over the years; three appeared on his last studio release, 2009’s The Dirty Dozen. On 2120 South Michigan Avenue, he offers a full-length homage to the label that bred his style with interpretations of 10 Chess classics. The album also includes original tributes to the Windy City and Chess’ crucial songwriter-producer-bassist Willie Dixon, penned by Thorogood, producer Tom Hambridge, and Richard Fleming, plus a cranked-up version of the Stones’ titular instrumental. Produced by Tom Hambridge, three time Grammy nominee, 2010 Grammy winner the album also include featured guests Buddy Guy and Charlie Musselwhite, also both 2010 Grammy winners! ….this is the album George Thorogood was born to make! This 2 LP vinyl set also includes a bonus track “Sweet Little Rock And Roller” |
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Capitol Records 2011 | LP | 28.00 € |
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| Hank Wiliams III - Hank 3's Attention Deficit Domination Hank3s doom-rock album. all original tracks |
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Hank 3 Records 2011 | CD | 17.00 € |
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| Hank Williams & 3 Bar Ranch - Cattle Callin |
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Hank 3 Records 2011 | CD | 17.00 € |
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| Hurriganes - 10/80 vinyyli uusintapainos vanhasta ganes-klassikosta |
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Warner Music Finland 2011 | LP | 22.00 € |
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| Hurriganes - Crazy Days repressing of this classic vinyl. |
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Love Records 2011 | LP | 22.00 € |
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| J.Hearthill Trinity - From Here To Trinity ”Autiomaan kuninkaalliset iskevät takaisin!” Sydänmäen folkrock -gumbo! Sisältäen 11 sielukasta laulua! |
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Pyros Records 2011 | CD | 12.90 € |
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| Janis Joplin - Pearl Janis' masterpiece album on 180-gram audiophile vinyl. sourced from the original master jacket meticulously recreated from the original art |
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Music On vinyl 2011 | LP | 20.00 € |
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| Kitty, Daisy And Lewis - Messing With My Life / Coco Nuts 78 rpm |
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Sunday Best Records 2011 | 78 rpm | 10.00 € |
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| Max Forsstrom Band - Way Down Low / Don't Let Me Down |
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Max Forström 2011 | CD | 4.00 € |
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| Pekka Streng & Tasavallan Presidentti - Magneettimiehen kuolema vanhan vinyylin uusintapainos |
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Love Records 2011 | LP | 22.00 € |
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| Pirates - Shakin' With The Devil - The Best Of The Pirates 2CD 2CD = 52 tracks ! Backing Johnny Kidd in the early 60s, The Pirates - the late, great Mick Green (guitar), Johnny Spence (bass, lead vocals) and Frank Farley (drums) - were rock's first bona fide power trio, a major influence on the likes fo the Who. Reconvening in the latter half of the 70s, their uncompromising approach and awesome chops won them a whole new generation of fans. Strap yourself in for 52 of their finest (and rarest) recordings 1977-1979 ! |
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Salvo Music 2011 | 2-CD | 20.00 € |
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| Rockpile - Live At Montreux 1980 All tracks previously unreleased on CD. |
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Eagle Rock Entertainment 2011 | CD | 18.00 € |
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| Ronski Gang - The Elevens Legendaarinen The Ronski Gang julkaisee odotetun uutuusalbumin "The Elevens" 19.10. Esimakua tulevalta pitkäsoitolta julkaistiin kesän kynnyksellä "All night long"-singlen muodossa. Nyt takaisin kehään palannut bändi on kaikessa hiljaisuudessa äänittänyt kokonaisen albumillisen energisiä rock-biisejä. Edeltävästä virallisesta studioalbumista on ehtinyt vierähtää jo lähes kolmekymmentä vuotta, kun 2005 julkaistiin tuplakokoelma vanhoista hiteistä. Uusi levy "The Elevens" sisältää nostalgiannälkäisille alkuperäisille faneille takuuvarmasti mieluista materiaalia, perinteiseen Ronski Gang-tyyliin. Bändin tuotanto ja soundimaailma on samalla päivitetty nykyaikaan, unohtamatta aitoa ja tinkimätöntä biisimateriaalia. Aito rock elää ja voi hyvin edelleen tänäkin päivänä sukupolvesta riippumatta. "Levyn äänityksissä on pyritty saamaan samankaltaista meininkiä kuin keikoilla, jotta levy ei kuulostaisi tekemällä tehdyltä", sanoo bändin keulahahmo Ronski. "Lähes kaikki albumin biisit on bändin omaa tuotantoa. Näiden lisäksi levyllä on kaksi lainabiisiä, jotka on jo keikoilla muovautuneet bändin käsittelyssä kuin ne olisivat omia biisejämme", kertoo rumpali Hate Menestyksekäs historia The Ronski Gang on suomirockin legendaarisimpia ja pitkäikäisimpiä yhtyeitä. Bändi teki ensimmäiset keikkansa jo vuonna 1968. Kaksi vuotta myöhemmin tuli voitto Lahden Suurlavalla järjestetyissä Suomen popbändikisoissa. Sen myötä keikkailu tiivistyi, suosio kasvoi ja vuonna 1975 ilmestyi ensimmäinen albumi "Ronski & Exotic". Kolme ensimmäistä levyä julkaistiin kyseisen bändin nimellä, kunnes lopulta nimeksi vakiintui The Ronski Gang. 70-luvun lopulla ja 80-luvun ensimmäisinä vuosina Ronskin ryhmä oli yksi Suomen suosituimmista live-kokoonpanoista, yleisöennätyksiä rikottiin ympäri Suomea. Vuonna 1984 bändi jäi tauolle, mutta teki paluun keikka-areenoille 90-luvulle tultaessa. 2000-luvun alusta lähtien bändi on keikkaillut harvakseen tehden muutamia keikkoja vuosittain. Nyt lukuisten fanien toive toteutuu ja odotus palkitaan, kun The Ronski Gang aktivoituu todenteolla - 43 vuotta perustamisensa jälkeen! Nykykokoonpanon peruskiven muodostavat kolme alkuperäisjäsentä, eli veljekset laulaja Harry "Ronski" Sjöblom ja rumpali Hans "Hate" Sjöblom sekä basisti Kaj "Misteri" Eklund. Tuplakitara -osastosta ovat jo vuodesta 2004 saakka vastanneet Vesa Kääpä tai Mikko Rintanen ja Kiffe "Haten poika" Sjöblom. Alkuperäisen äijärockin kuninkaat ovat palanneet kovassa iskussa. |
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HandPicked Music 2011 | CD | 18.00 € |
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| Royals - Spring 76 repressing. gatefold sleeve. lyrics on the innersleeve |
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Love Records 2011 | LP | 22.00 € |
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| Shakin' Stevens - Country Blues |
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Sony Music 2011 | CD | 10.00 € |
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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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| 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: - 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: - 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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| Aviation Blondes - Edge Of Forever Debut CD from Pittsburgh poprock-soul group the Aviation Blondes |
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Get Hip Records 2010 | CD | 10.00 € |
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| Dion - Wonder Where I'm Bound Dion’s lost folk-rock masterpiece! Wonder Where I’m Bound is a fascinating glimpse into Dion’s lost renaissance and documents this major artist’s wandering into an artistically compelling new direction: a mélange of blues, folk, and plaintive balladry. In the wake of Dion’s 1968 commercial comeback with Abraham, Martin, and John, Columbia dusted off a collection of Dion Di Mucci s voluminous studio work for the label and dubbed it Wonder Where I m Bound. Producers Bil Keane and Jimmy Wisner also added orchestration to Dion’s folk-rock reading of Tom Paxton’s I Can’t Help But Wonder Where I’m Bound (copying the style of Abraham, Martin And John ) for a single release in February 1969. Despite two 1990s compilations of Dion’s Columbia recordings, much of the material from 1969 s Wonder Where I’m Bound has eluded release on CD, UNTIL NOW! This release includes five tracks produced by the legendary Tom Wilson (Bob Dylan, Velvet Underground). |
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Now Sounds 2010 | CD | 17.00 € |
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| Francine - The Story Of Francine - Trouble Edition Lahtelaisen rokkibändin Francinen vauhti ei ole parinkymmenen vuoden aikana hyytynyt! Tällä hetkellä Francinen uusi Trouble-ep soi kolmella radiokanavalla, kuuma keikkabussi kiitää ympäri Suomea ja kesän festarit odottavat! Fanikansan kasvettua räjähdysmäisesti bändi päätti palkita porukkaa julkaisemalla päivitetyn version loppuunmyydystä kokoelmasta The Story Of Francine, joka julkaistiin muutama vuosi sitten. Nyt kokoelmaa on päivitetty viidellä uudella biisillä: mm. radiohitti "Trouble" sekä edellisen One Step Further -pitkäsoiton hitit "I Don't Give a Damn" ja "Never Grow Up". Vastaavasti levyltä on poistettu viisi vanhaa biisiä. Aiemmassa versiossa mukana oli myös dvd, jota päivitetystä versiosta ei löydy. |
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Fanfaari / Sound Of Finland 2010 | CD | 18.00 € |
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| Hayseed Dixie - Killer Grass 2CD |
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Cooking Vinyl 2010 | CD | 19.00 € |
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| Janne Louhivuori - Yin 'N' Twang great guitar instrumental album. sounds from blues, rockabilly and surf |
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Texicalli Records 2010 | CD | 17.00 € |
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| Jason And The Scorchers - Halcyon Times |
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Playground Music 2010 | CD | 17.00 € |
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| Jimi Hendrix - Band Of Gypsys recorded live new year's eve 1969-70 at Fillmore East In New York |
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Music On Vinyl Records 2010 | LP | 25.00 € |
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| Jimi Hendrix - First Rays Of The New Rising Sun 2LP First Rays of the New Rising Sun, released in 1997, is an attempt to recreate the album Jimi Hendrix was working on at the time of his death in 1970, as close as is feasible to how he would have wanted it (based on recordings and notes he made during the last months of his life). Tracks for this album ranged from finished to skeletal at the time of Hendrix's death. Much of the material had been recorded over the summer of 1970 at Jimi's just-completed Electric Lady Studios in New York City. First Rays was the first of a series posthumous albums with hiqh-quality sought-after rarities and other previously unreleased music, released by the Jimi Hendrix Estate. Incl. 8-page full-colour booklet (12"x 12")!! |
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Music On Vinyl 2010 | LP | 28.00 € |
