Live In America
Sound Of A Revolution
Result of your query: 1689 products
|VA: - Philadelphia Pop - Rockin' And Croonin' On Bandstand 1957-59
After the initial rise of rock and roll, and with thanks to the power of TV the city of Philadelphia briefly became the centre for a new kind of teenage pop music with acts like Frankie Avalon, Fabian and Bobby Rydell who dominated the charts in the late '50s.
Featuring recordings made between 1957 and 1959 including such classics as 'At the Hop', 'Venus', 'Butterfly' and 'Tallahassee Lassie'.
Virtually every one of the 44 tracks on this great set was a chart record either in America or the UK, often both!
Fully detailed liner notes chart the rise of Philadelphia's influence thanks to the popularity of the TV show 'American Bandstand'.
Price: £8.99 / $14.83 / €10.10
1. CHARLIE GRACIE - BUTTERFLY
2. CHARLIE GRACIE - FABULOUS
3. CHARLIE GRACIE - WANDERIN' EYES
4. DANNY AND THE JUNIORS - AT THE HOP
5. BILLY AND LILLIE - LAH DEE DAH
6. FRANKIE AVALON - DE DE DINAH
7. THE SILHOUETTES - GET A JOB
8. CHARLIE GRACIE - COOL BABY
9. DICKY DOO AND THE DON'TS - CLICK CLACK
10. DANNY AND THE JUNIORS - ROCK AND ROLL IS HERE TO STAY
11. JOHN ZACHERLE (THE COOL GHOUL) - DINNER WITH DRAC
12. FRANKIE AVALON - YOU EXCITE ME
13. DICKY DOO AND THE DON'TS - NEE NEE NA NA NA NA NU NU
14. DANNY AND THE JUNIORS - DOTTIE
15. FRANKIE AVALON - GINGERBREAD
16. CHARLIE GRACIE - LOVE YOU SO MUCH IT HURTS
17. DICKIE DOO & THE DON'TS - LEAVE ME ALONE
18. FRANKIE AVALON - I'LL WAIT FOR YOU
19. THE APPLEJACKS - MEXICAN HAT ROCK
20. FRANKIE AVALON - WHAT LITTLE GIRL
21. BILLY AND LILLIE - LUCKY LADYBUG
22. THE APPLEJACKS - ROCKA CONGA
1. FABIAN - I'M A MAN
2. FRANKIE AVALON - VENUS
3. BOBBY RYDELL - PLEASE DON'T BE MAD
4. FABIAN - TURN ME LOOSE
5. BOBBY RYDELL - ALL I WANT IS YOU
6. FRANKIE AVALON - BOBBY SOX TO STOCKINGS
7. FRANKIE AVALON - A BOY WITHOUT A GIRL
8. CHUBBY CHECKER - THE CLASS
9. FREDDY CANNON - TALLAHASSEE LASSIE
10. BOBBY RYDELL - KISSIN' TIME
11. FABIAN - TIGER
12. FRANKIE AVALON - JUST ASK YOUR HEART
13. FREDDY CANNON - OKEFENOKEE
14. FABIAN - COME ON AND GET ME
15. FRANKIE AVALON - TWO FOOLS
16. BOBBY RYDELL - WE GOT LOVE
17. BOBBY RYDELL - I DIG GIRLS
18. FREDDY CANNON - WAY DOWN YONDER IN NEW ORLEANS
19. FRANKIE AVALON - WHY
20. FABIAN - HOUND DOG MAN
21. FABIAN - THIS FRIENDLY WORLD
22. BOBBY RYDELL - LITTLE BITTY GIRL
|Jasmine Records 2010||CD||13.00 €
|VA: - Pink Cadillac 2CD
Here are 2CDs of the very best Rock ‘n’ Roll driving songs of all time! Featuring legendary performances by Gene Vincent, Buddy Holly, Jerry Lee Lewis, Ritchie Valens, Eddie Cochran, Chuck Berry, Little Richard and many, many more…
|Union Square Music 2012||CD||10.00 €
|VA: - Pony Tail Girl
||Pan American||CD||15.00 €
|VA: - Press-Tone Rockabilly Vol. 3
||Press-Tone Music 2010||CD||17.00 €
|VA: - Preston Rockabilly Vol. 2
more great aussiebilly.
|Press-Tone Music 2009||CD||9.90 €
|VA: - Psychobilly Ratpack No. 4
||Halb 7 Records 2011||CD||15.00 €
|VA: - Pukinpunainen
||Rocket Records 2012||CD||13.00 €
|VA: - R&B Humdingers Vol. 6
twenty greasy groovers
|Yama Records 2009||CD||17.00 €
|VA: - Rare Blues & Soul From Nashville The 1960s
Rare Blues & Soul From Nashville The 1960s With the exception of New York City, Los Angeles and Chicago, Nashville, Tennessee had more independent record companies than any other city in the United States during the boom years of the 1940s, 1950s and 1960s. This collection will help you to get an idea what it was like during the golden era of Nashville Blues and Soul Music. They just don't make records like this anymore, but thankfully we can still hear them...and they sure sound good.
|Superbird Records 2009||CD||18.00 €
|VA: - Rare Psychobilly From The Vaults: Vol. 1: X-Ray Studio
Our first volume of Rare Psychobilly From The Vaults delves into the history of Alan Wilson's X-Ray Studios. Wilson was already a well-known figure on the Psychobilly scene having been a founder member of The Sharks, as well as publishing long running fanzine "Deathrow". His enthusiasm for music production began as a hobby, but he was soon attracting top name scene bands, as well as unknown bands wanting to make an impact.
This 24 track collection features mostly unreleased recordings from Alan's days running his X-Ray studio. The Sharks and The Frantic Flintstones are the headline bands featured here, but there is plenty of obscure material from long gone bands which Psychobilly fans of the '80s and '90s will remember, most notably Breakout and The Men From Uncle.
This collection of Rare Psychobilly From The Vaults will be sought after by those who were there at the time, as well as second-wave Psychobillies looking to discover long lost gems from the original Psychobilly movement.
Alan Wilson has gone one to become an in demand full-time music producer running the famed Western Star studio. As well as bringing you some great Psychobilly blasts from the past, this collection is also an insight into his early career behind the desk.
|Raucous Records 2010||CD||9.90 €
|VA: - Raunchy ! Vol. 2 - Rockin' Into The Sixties 2CD
The first volume of 'Raunchy' (JASCD 511) was one of our most popular releases of 2010. So hold on to your rock hats because here comes volume 2! Featuring another 51 rock era instrumental classics from the '50s and 1960.
Kicking off with another version of 'Raunchy' before moving on to the sounds of Duane Eddy, The Ventures, Sandy Nelson and Bill Black's Combo.
Included here are seven international No. 1 hits along with showcasing the emerging talents of The Shadows, The Flee-Rekkers and The Hunters.
Fully detailed liner notes with short biographies of all the artists.
|Jasmine Records 2011||CD||12.00 €
|VA: - Real Thing - The Songs Of Ashford, Simpson & Armstead
The songs of Nickolas Ashford and Valerie Simpson could occupy a whole Hall Of Fame to themselves. There can’t be any students of popular music who are not familiar with at least a few of their classics, be they their own hits like ‘Solid’ or those they wrote for Motown’s ‘A’ list artists, such as ‘Ain’t No Mountain High Enough’ and ‘Ain’t Nothing Like The Real Thing’ for Marvin & Tammi and ‘Reach Out And Touch (Somebody’s Hand)’ for Diana Ross.
These and many like them are as much a part of our lives as getting up in the morning. Less well known outside of connoisseur soul circles are the songs they wrote in the years immediately leading up to ‘Ain’t No Mountain’, with their original collaborator Joshie “Jo” Armstead. Between 1964 and 1967, the trio collaborated on a significant number of superior songs to provide hits for artists including Chuck Jackson and Maxine Brown, Betty Everett, Aretha Franklin and scores more.
This month we celebrate their three-way collaborations with “The Real Thing”, the latest volume in our songwriter series and the first to appear on Kent. This CD brings together just about all of the most notable “JoValNick” compositions and embellishes them with a handful of early songs that Ashford and Simpson wrote without Jo. Given that it’s a Kent CD, the soul content is very high – as well as those already mentioned, others who bring the songs to life include the Crystals, the Coasters, Candy and the Kisses, Tina Britt, the Shirelles, the Apollas, Marie Knight and blue eyed soulster Ronnie Milsap. (The inclusion of many of those and other equally notable names will ensure that it also goes straight onto the shopping list of every girl group aficionado…)
And as for those songs, there and many among those who will buy it who will not be familiar with at least one version of ‘Let’s Go Get Stoned’, ‘Running Out’, ‘Cry Like A Baby’ or ‘You’re Absolutely Right’. These are part of the very fabric of 60s soul and it would be impossible to imagine life without them after almost 45 years!
Mick Patrick has maintained the perfect balance between the strikingly familiar and sensationally obscure that we always continue to aim for throughout this series and he is to be congratulated for doing so, given that Nick, Valerie and Joshie worked together for a much shorter period of time than most of those who’ve so far appeared in the series.
Valerie and Nick are said to be hard to please when it comes to reissues of their early work, but they can feel justifaibly proud of this splendid revelation of the genesis of their songwriting (as can Ms Armstead).
Looks to me like this could be The Real Thing! Ain’t Nothing Like It…
By Tony Rounce (Ace Records)
|Ace Records 2009||CD||17.00 €
|VA: - Red Bird Story Vol. 1 2LP
60 original recordings from the celebrated New York label including classic tracks from The Shangri-Las, The Dixie Cups and more.
Founded in 1964 by songwriters Jerry Leiber and Mike Stoller, Red Bird Records may only have been operational for three years but during that time the label became synonymous with the 60s girl group sound, particularly due to the success of The Shangri-Las and The Dixie Cups – both of whom scored No.1 hits for Red Bird in its fledgling year. Rising Phoenix-like from earlier try-outs with Tiger (founded in 1962) and later Daisy (in 1963), Red Bird was unique among indie labels in that its output was of a consistently high standard and almost half of its releases made a commercial impact.
The secret to Red Bird’s “hit factory” lay in no small part with the chart-topping Brill Building songwriting team of Ellie Greenwich and Jeff Barry who’d previously penned hits for producer Phil Spector’s Ronettes and Crystals. In the years prior to the British Invasion, the husband and wife wrote prolifically for most of the label’s biggest names including the aforementioned Shangri-Las (‘Leader Of The Pack’, ‘Out In The Streets’) and Dixie Cups (‘Chapel Of Love’) The Butterflys (‘Goodnight Baby’), Sam Hawkins (‘Hold On Baby’), The Ad Libs (‘He Ain’t No Angel’) and Andy Kim (‘I Hear You Say’), as well as occasionally recording in their own right.
This deluxe two disc set draws together the best of Red Bird along with tracks from its Blue Cat Soul/R&B subsidiary and material from the short-lived Tiger and Daisy affiliates. Carefully compiled and annotated by Roger Dopson, this compilation is a worthy successor to previous volumes incorporating lesser-heard gems alongside the major hits.
|Charly 2012||LP||28.00 €
|VA: - Red Bird Story Vol. 2 2LP
||Charly 2012||LP||28.00 €
|VA: - Red Bluejeans & Checkerboard Socks
Elvis Presley brought a sense of tribal identity to America’s youth when he hit national TV in 1956, although teenage style was happening even before the coming of rock’n’roll. A teenage look was adopted in the same way that “our” music would be when it arrived. In the USA post-war prosperity brought teenage style much earlier than in our war-torn and austere continent, although occupying American forces did leave a certain mark. In Britain we invented the Teddy boy and girl, a sort of working class nose-thumbing to our elders and so-called betters. For us, the advent of rock’n’roll and its attendant style was held back by our very own skiffle craze, a folky off-shoot of trad jazz (chunky knits and corduroy). The froth was not blown off the coffee until well into 1957 on this side of the Atlantic, by which time the teenage “absolute beginner” had truly arrived. And the look was all-American.
Carl Lee Perkins was the man responsible for the granddaddy of all these songs about clothes. Born out of an expression heard by Johnny Cash while serving in the military; suggested as a song subject to a bemused Carl; exacerbated by something Carl overheard on a dance floor, and eventually written in the middle of a speed-addled night on a paper potato sack. Carl’s ‘Blue Suede Shoes’ was the first essentially country record to top all three of Billboard’s charts: country & western, R&B and popular. Carl’s meteoric career was the template for most of the early rockabilly exponents: full of wild highs and tragic lows. It’s true to say that despite its longevity, phenomenal influence over much that followed, including the Beatles, and its star-crossed nature, Carl's career would never quite rise beyond the reputation of that first massive hit. This album brings the original ‘Blue Suede Shoes’ to the Ace canon for the very first time. Can you believe that?
Our opening song (and album title) would have found record-hungry European teens of ’57 somewhat confused – an example of creative juxtaposition perhaps? Red blue jeans? But of course, with time came the clarification of all things spoken hep. Back in those days, and for some time to come, our brothers and sisters across the Pond called all jeans bluejeans (one word). Sometimes they called them Levi’s, but in the UK in the late 50s that description meant even less. So, of course, we have blue jeans … and they’re red! ‘Red Bluejeans And A Pony Tail’ was, of course, the successor to a hit from the previous year where we first heard of this strange apparel, in Gene Vincent’s very first release, ‘Be Bop A Lula’: “She’s the gal in the red bluejeans, She’s the queen of all the teens.”
From ‘Blue Suedes’ and ‘Red Bluejeans’ we could have moved in the same direction as pop music tended to do at the time. In the world of the hit parade we had ‘Short Shorts’, ‘Pink Shoe Laces’, ‘Black Denim Trousers’, ‘White Bucks’ and ‘Saddle Shoes’. Not for us such drab garb. Our outfitters have rounded up some ‘Straight Skirts’, ‘Tight Sweaters’, ‘Pink Peg Slacks’, ‘Slim Jims’, ‘Tight Capris’, ‘Penny Loafers’, ‘Squeaky Shoes’, ‘Boy’s Shirts’, ‘Plaid Skirts’, ‘Yellow Pants’, ‘Red and Blue Velvet’, ‘Sun Glasses’, ‘Checkerboard and Knee Socks’ and ‘Bermuda Shorts’.
And they all rock their socks off. Yes, with that get-up you better stay out of school. By Brian “Feel The Schmutter” Nevill
|Ace Records 2010||CD||17.00 €
|VA: - Remember Me Baby - Cameo Parkway Vocal Groups Vol. 1
Before Tamla/Motown, there was Cameo/Parkway. A groundbreaking Philadelphia imprint, the label churned out an astonishing number of huge hits (most written in-house) during its 12-year heyday and turned a gaggle of unknown young locals into stars. Sound familiar?
Although primarily remembered for its myriad dance craze hits, the catalogue actually encompasses the whole of rock’s golden era: instrumentals, novelties, doo wop, girl groups, soul, teen idols, British Invasion, garage bands and bubblegum, etc. Label honchos Bernie Lowe, Kal Mann and Dave Appell spared no expense, releasing singles with beautiful colour picture sleeves and flooding the market with an unprecedented torrent of LPs.
Cameo-Parkway material has been unavailable for decades, and collectors have waited impatiently for many years for the hits to make their digital debut. A label overview in 2005 and a few subsequent hits packages skimmed the surface. Out this month on Ace are 10 full albums on five CDs, along with a compilation of vocal group classics. The floodgates are now open, and it’s just the tip of the iceberg.
Cameo/Parkway’s contributions to the doo wop songbook included hits by classic groups the Dovells, the Tymes and the Rays, but the label also provided a home for genre stars such as the Skyliners, Lee Andrews, the Turbans, the Roomates, the Gainors (with future soul luminary Garnet Mimms) and Pookie Hudson & the Spaniels. “Remember Me Baby: Cameo/Parkway Vocal Groups Vol 1” features those groups and more, a treasury of harmony jewels.
By Dennis Garvey (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Respect - Aretha's Influences And Inspiration
Considering she is still such an influence on so many others artists, Aretha Franklin’s own inspirations might have been a little overlooked. This Ace CD addresses that situation perfectly. The 24 R&B, soul and gospel recordings here, many of them performed by Aretha's favourite artists, helped influence and inspire her to become the great artist she is.
Aretha recorded a tremendous number of covers over the years. Her choices of the best songs to record in her own way were impeccable. ‘Respect’ is totally different to Otis Redding’s storming original and it established her as the female soul singer to beat for years to come. Likewise Don Covay’s See Saw’, which in her hands proved to be a bigger R&B hit than its writers’ own version.
An important influence on Aretha was Little Miss Cornshucks. Obscure to the general public, Ahmet Ertegun named her as his favourite blues singer of all time. Here is her recording of ‘Try A Little Tenderness’ from 1952, generally regarded as the first R&B version of this classic song. Aretha recorded the number for Columbia in 1962.
Aretha first heard Ray Charles’ version of ‘Drown In My Own Tears’ (originally cut by Lula Reed) on the radio one night after she had gone to bed. She said she heard his voice coming out of the dark and that she had never heard anything like that before. I’ve a soft spot for the version by the underestimated Jean Wells. Coincidentally Wells is featured here singing Clyde Otis’ ‘Sit Down And Cry’, later recorded by Aretha for her “This Girl’s In Love With You” album. From the same Calla label as Jean’s record comes ‘Prove It’ by the under-recorded Mary Wheeler from 1966, which Aretha cut a year after for the “Aretha Arrives” LP.
One of Aretha’s greatest influences was the gospel legend Clara Ward, featured here with ‘The Day Is Passed And Gone’, a song that was among the very first she covered, and sung by her at Clara’s funeral in 1973.
As often with Ace compilations an alternate, extended or album cut is used, not just securing sales to completists (join the club!), but giving an interesting slant on well-known or well-loved recordings. This collection is no exception, offering, for example, the stereo LP versions of Otis’s ‘Respect’ and Ben E King’s ‘Don’t Play That Song (You Lied)’, which features the verses in a different order to the single.
Other big names include Wilson Pickett with the tremendous ‘I’m In Love’ (Aretha considers Pickett to be one of the great soul singers, and vice versa, if you remember his comments about a party at her house in Only The Strong Survive), Bobby Womack, Howard Tate, Bobby Bland and Dinah Washington. The woman recently named the Greatest Singer of All Time by Rolling Stone magazine certainly has the best of taste.
BY JOHN MARRIOTT
|Ace Records 2009||CD||17.00 €
|VA: - Rhythm 'n' Bluesin By The Bayou
“Rhythm’n’Bluesin’ By The Bayou”, the latest in our “By The Bayou” series, features 28 rompin’, stompin’ tracks from the blues men and women of South Louisiana. The tracks have been pulled from the vaults of leading record men J.D. Miller, Eddie Shuler and Floyd Soileau plus Rockin’ Sidney’s first disc – cut by Jake Graffagnino for his Carl label.
The sound of South Louisiana’s R&B stemmed from the Cosimo studios in New Orleans and those pioneers of the genre: Fats Domino, Smiley Lewis, Lloyd Price etc. As it spread west across the state, it gathered in the influences of zydeco, rural blues and the embryonic swamp pop, producing that distinctive amalgam which is enjoying popularity with collectors of today.
To help quench that thirst we have delved into the vaults of Miller and Shuler to locate the best previously unknown tracks and alternate takes. Also, with modern studio techniques, our engineers have breathed fresh life into some of the material that was unearthed by Flyright almost 30 years ago.
Back in the 50s and into the early 60s, this was the music of working class black people; it was what they drank to, danced to and occasionally brawled to in the bars and clubs of this corner of the USA. It also got played on the area’s black radio stations and was gobbled up by white teenagers who would adapt it into their rockabilly and swamp pop songs.
As compiler of this CD, I was as excited listening to these master tapes as I would have been had I been one of those teenagers. The music is as fresh and vibrant now as it was in those far off days. With new tracks from the artists such as Blue Charlie and Mad Dog Sheffield, the first recordings of Rockin’ Sidney, a host of other little known artists (including three numbers from two mystery women) and obscure Zydeco rockers Thaddeus Declouet and C.J. Thierry, this is an exhilarating voyage of discovery.
When you listen to the music you’ll be transported back to its heyday – imagine lying on your bed grooving to those sounds on the radio in the sultry Louisiana night, with the bullfrogs croaking in the bayou. These are the sounds of an era that is almost forgotten but is kept alive by enthusiasts for enthusiasts.
By Ian Saddler (Ace Records)
|Ace Records 2013||CD||18.00 €
|VA: - Rhythm Shack Vol. 1
||Sheik Records 2012||LP||15.00 €
|VA: - Riding The Curl - The Surf Music Explosion 1958-61
It's been said that surfing is the only sport with its own particular genre of music. It sprang up in the years between 1958 and 1961 along the southern Californian coastline; a new lifestyle around which a whole culture evolved.
Surf music was inspired by the likes of The Ventures and Link Wray and then pioneered by the reverb-drenched guitars of Dick Dale and a legion of loud, primitive local bands such as the Bel-Airs, whose ‘Mr. Moto’ was one of the genre's early anthems.
The second half of this set is devoted to Bud Shank's remarkable music for Bruce Brown's exhilarating debut surfing movie, Slippery When Wet.
Brown chose a modern jazz scoring because he felt it would be new and different and his judgement was good. The Quartet improvised the music while actually watching the film, giving the musicians freedom to express more clearly the actual thrill of the surfer than any pre-written score.
|Cherry Red Records 2012||CD||15.00 €
|VA: - Road To Soul 2CD
A selection of 55 songs which present the intensity of African American church music and R&B sounds which helped to shape soul music in the '60s.
Includes such major stars as: James Brown, Sam Cooke, Ray Charles, Etta James, Tina Turner and more!
Features hit singles like: 'What'd I Say', 'You Send Me', 'Money' and 'Hit the Road Jack'.
Fully detailed liner notes on the roots of soul with even more extensive notes available here.
|Jasmine Records 2012||CD||13.00 €
|VA: - Rock And Roll All Night Long - Tribute To Hurriganes
ROCK AND ROLL ALL NIGHT LONG - A ROCKABILLY TRIBUTE TO HURRIGANES
FINLAND, THE LAND OF A THOUSAND LAKES
Exaggerating slightly, one could say that the same number of Hurriganes
cover bands can be found in this sparsely populated country and a few
more in our neighboring Sweden. To this day, in pubs, clubs and other
concert venues, Hurriganes classics get the dance shoes going wild.
Hurriganes’s position as a trailblazer cannot be overemphasized. The
band proved that, also from our own country, a rock ‘n’ roll band could
come along and sound just as good as their world-wide counterparts and
with a great style to boot.
I decided to use national boldness and put together a tribute album to
this legendary group. My idea was to gather together, from the
rockabilly, original rock ‘n’ roll and teddy boy scenes, bands and
performers for many of whom Hurriganes has marked the starting point to
the world of real rock ‘n’ roll.
In Finland, in the early 1970s there were few restaurants, alcohol was
expensive and in the leftist art world, it was generally held that the
United States was the world’s threat and the Soviet Union, the bringer
of peace. Also in the world of music, there were few exceptions to the
rule of progressive and art rock performers, for whom the idea of
rocking out was to stare at their “nailed-to-the-floor” shoes and
demonstrate, with wrinkled brow, their virtuoso playing skills and long
solo sections. But somewhere smoldered a rebellious seed and time began
to be ripe for a new wave of rock ‘n’ roll, the rock ‘n’ roll revival.
In 1971, Remu Aaltonen formed Hurriganes, along with Ile Kallio and
Cisse Häkkinen. The group worked hard and its popularity began, slowly
but surely, to increase. Hurriganes’s sound was, from the start,
completely modern, although the band also played 1950s and 60s rock ‘n’
roll, instrumental rock and ballads.
Cisse Häkkinen’s bass playing and Remu Aaltonen’s drumming formed the
spine of Hurriganes’s sound. The duo’s playing wasn’t necessarily
virtuoso but neither did it sound academic. One could say that it was a
taste of life. In Remu’s head, the exclamations and phrases of “rock
English” were created, forming a truly original singing style. British
musician, Nick Lowe, called Remu’s singing style the Esperanto of rock
music. Ile Kallio, Albert Järvinen and Janne Louhivuori took care of the
guitarists’ job, each in turn and occasionally even together. Each one
of these guitarists had his own strengths and each of their styles
contributed to the band’s overall sound.
Hurriganes broke audience records in both Finland and Sweden and in 1977
the group was at the top in its home land, without a single noteworthy
challenger. But in the metropolitan area, a 1950s trend had started and
it spread, little by little, throughout Finland, creating an
unprecedented rockabilly boom. During 1978, Hurriganes’s number one
position among the youth of Finland, switched to Teddy & The Tigers.
From 1977 – 1981 Finland gave birth to more and more new ‘50s rock ‘n’
roll and rockabilly bands, which strove for the old original American
sound or switched to playing British teddy boy rock ‘n’ roll. The
estimate, that during these so called “crazy years”, there were, in
Finland, over 200 groups which described their style as rockabilly, is
probably pretty close to the truth. During 1982, this trend also began
to fade but, during these years, a firm base for Finnish rock ‘n’ roll
culture was built and it is still going strong today.
Hurriganes played their last show in 1984. In 1988, they did a short
comeback tour that had its moments, although it wasn’t very successful.
Remu Aaltonen has, to this day, had bands that use the name Hurriganes.
That’s all, except to say, happy rock ‘n’ roll.
|Goofin Records 2012||CD||15.00 €
|VA: - Rock Around The World Vol. 4
25 tracks rockers from Venezuela, Australia, France, Denmark, Belgium, South Africa, Nicaragua, Sweden, Norway, Switzerland & UK
|Blakey Records 2009||CD||17.00 €
|VA: - Rock From Valley Country II
great compilation of swedish rockabilly, psychobilly and rock and roll
|Ilen Records 2010||CD||15.00 €
|VA: - Rock Your Baby
t’s an odd truism in music that the songs that last the longest aren’t the Grammy winners, or the Mull of Kintyres or the multi million-selling soundtracks, but the songs that are sung in the playground and passed down from generation to generation. Maybe things have changed since I was a loveable scamp, but certainly in the 70s I was gleefully singing songs about the various bells of London or mass death via the plague. Just as oddly, if I were somehow elevated a minimum of two inches higher than my classmates I would proudly declare them dirty rascals, despite the fact this hadn’t been an effective insult for over a century. Perhaps today a government department sponsored by an alcopop manufacturer gives credits according to which corporate-owned nastiness kids choose to jig about to, but I for one hanker after a more innocent time. Which is exactly where this album comes in.
I love my kids, really I do. Even when I think I don’t, deep down I know I do. I love my kids and I love my car and I love my music, so this album was put together for those infuriating long journeys and those infuriating short journeys, when Clive and Natasha are creating in the backseat. We all fancy a singalong but I’m not in the mood for the tweenies, but I am in the mood for a long list of names that almost rhyme with food, or songs about idiot amphibians or dance tunes about monkeys. This will keep us all entertained for a couple of hours, till the little poppets have worn themselves out and I can rest easy, safe in the knowledge that I’m a great dad, and that my kids are entirely fictional.
Which is a relief, as he doesn’t really look much like me and I’m not entirely sure if that’s how you spell her name. So here we go, a new musical curriculum for the young and the simple of mind.
By Mark Lamarr (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - Rock-A-Socka Hop Vol. 4
||Classics Records 2009||CD||15.00 €
|VA: - Rockabilly Action
||Deejay 2010||CD||15.00 €
|VA: - Rockabilly Hicks
||Deejay 2009||CD||15.00 €
|VA: - Rockabilly Hoodlums Vol. 6
|Collector Records 2008||CD||15.00 €
|VA: - Rockabilly Roads 2
Viime vuonna julkaistu kokoelma Rockabilly Roads (Playground Music) saa jatkoa! Rockabilly Roads II julkaistaan kesäkuun 13. yhtaikaisesti Suomessa ja Ruotsissa sekä samalla viikolla myös Tanskassa & Norjassa. Uusi kokoelma antaa jälleen hyvää kuvaa siitä mitä tapahtuu ja on tapahtunut genressä ja sen liepeillä.
Skandinaavien johdolla tällä kokoelmalla mennään ja varsin ansaitusti, mutta toki sanansijaa annetaan muillekin genren top-artisteille Euroopasta ja USAsta.
Ruotsista on mukana levyn avaava JLT (John Linberg Trio), jonka tuore albumi Hell Of A Ride kipusi julkaisuviikollaan Ruotsin listan kolmanneksi toisen sijan mennessä The Playtones-ryhmälle, jota myös tällä kokoelmalla kuullaan. Niinikään Ruotsia edustaa legendaarinen Jerry Williams, jonka ura on jatkunut jo vuosikymmenien ajan naapurimme rock´n´roll-ympyröissä ja versio Bluejean Bop-klassikosta on äijän viime albumilta, jolla taustoista vastaavat mm. Fatboyn jäsenet. Fatboy nauttii suurta suosiota Suomessa ja täälläkin useasti vierailleena on oikeutetusti mukana myös tällä levyllä What Would Elvis Do?-biisillään. Ruotsin Euroviisu-finaalissa Melodifestivalenissa itsensä sijalle 6. hinannut Top Cats ja luotettava hot rod rock´n´roll-jyrä The Go Getters täydentävät Ruotsin edustuksen.
Suomen osuudesta vastaavat pitkän linjan konkarit Francine mainiolla versiollaan Tainted Love-biisistä ja Sami Roineen liidaama The Stringbeans hulvattomalla Tarzanillaan, jonka on tuottanut Boz Boorer. Rockin´ 8-Balls täydentää kuvion energiaa tihkuvalla versiollaan Shirley Lee rockabilly-klassikosta.
Skandinaavien osuuteen tuo vielä oman panoksensa norjalainen Lucky Bullets, joka vuonna 2011 oli ansiokkaasti mukana Norjan Euroviisu-finaaleissa ja on tärisyttänyt tunturimaan musiikkiskeneä autenttissävyisellä rockabillyllään. Ryhmä kävi myös vakuuttamassa suomalaiset alan harrastajat keväisillä Suomen keikoillaan.
Kansainvälisestä yhteistyöstä näytteen antaa Hot Rod Rhythm Boys versiollaan Emiliana Torrinin Jungle Drum-biisitä, vokaalien & kitaroinnin mennessä legendaarisen neobilly-ryhmä The Restlessin Mark Harmanin kontolle suomalaisen taustaryhmän hoidellessa muun musisoinnin.
Brittien Jack Rabbit Slim on yksi genren tämän hetken suosituimmista ja arvostetuimmista rockabilly-ryhmistä antaen tällä kokoelmalla näytteen rauhallisemmasta ja tunnelmoivasta puolestaan. Irlantilais-lähtöisen Imelda Mayn voi varsin perustellusti sanoa olevan yksi tämän päivän tunnetuimista rockabilly-genrestä ponnistavista akteista ja joka on saanut hyvin näkyvyyttä ja kuuluvuutta yli musiikkirajojen lähivuosien aikana niin Briteissä kuin muuallakin Euroopassa unohtamatta pohjoista Amerikkaa ja Japania. Tälle kokoelmalle valikoitunut Imeldan Psycho-biisi ei todellakaan jätä ketään kylmäksi.
Muun euroopan tasosta antaa oivan näytteen pitkän linjan rockabilly-ryhmä Hillbilly Moon Explosion Enola Gay-lainallaan.
Rapakon takaista osaamista tuo kokoelmalle Brian Setzer omalla versiollaan Red Hot-biisistä, joka on yksi rockabillyn biisiklassikoiden kulmakivistä ja tuoreempaa näkemystä saamme Hillbilly Casinolta, joka talvella käväisi myös Suomessa keikoilla. Ja kyllä, myös heidän biisinsä on nimeltään Psycho.
|Playground Music 2012||CD||15.00 €
|VA: - Rockers ! Volume 1
very early 1960s guitar rockers
|B-Sharp Records 2010||LP||14.00 €
|VA: - Rollin' Rock Greatest Hits Vol. 1
20 tracks from Rockin' Ronny Weisers Rollin' Rock Records
|Scana Sverige Ab 2006||CD||15.00 €
|VA: - Roots! Riot! Rumble
||Wolverine Records 2013||CD||9.90 €
|VA: - Rumba Doowop Vol. 1 1933-1954 2CD
Latin rhythms have infiltrated into every new branch of popular music that has emerged during the twentieth century. Jelly Roll Morton and W.C. Handy incorporated the Cuban habanera into early jazz and blues; the Argentinean tango found its way into twenties dance-band music; the Brazilian baion and bossanova styles wound their way through the sixties beat boom and were revived in the drum’n’bass of the nineties. But none had such an all-pervasive influence as the rumba. Its journey from the Middle-East through North Africa and Spain to the New World brought it into American dance halls in the thirties. The syncopated, rhythmic riffs of bandleaders such as Xavier Cugat helped to liberate dancers from stuffy foxtrots and waltzes, opening up an altogether more sensual world of excitement and exoticism. In post-war popular music, rumba is everywhere, from Dave Bartholomew’s Country Boy to the Clash’s Rock The Casbah, picking up Little Richard’s Slippin’ and Slidin’ and the Beatles’ Ballad Of John And Yoko along the way. Even hillbilly records featured rumba bass lines. Its 3-2 clave rhythm, which Bo Diddley stylised and made into his very own, became an integral part of American music and continues to cast its spell over popular music to the current day.
|Rhythm And Blues Records 2011||CD||13.00 €
|VA: - Sadoin Sähkökitaroin Extra Osa 1
Rautalankalevytyssarja saa jatkoa. Sadoin sähkökitaroin EXTRA (osa 1)
sisältää levytyksiä vuosilta 1963 - 1989.
Mukana myös monta ennen julkaisematonta, upeaa esitystä. Kansilehdessä
paljon kuvia ja infoa levytyksistä.
|Rautalanka Records 2013||CD||18.00 €
|VA: - Saint Etienne Present Songs for The Dog & Duck
Ace have never previously put out any CDs featuring UK glam rock next to rockabilly and sweet soul: I’m sure not many people thought we ever would. But this is the soundtrack to an evening in a Soho boozer - an eclectic selection of great music across the pop oeuvre on an imaginary jukebox stationed in a (real) pub called the Dog And Duck. Bob Stanley and his Saint Etienne team-mates, Dog And Duck habitués, have picked their dream musical moments to accompany a night of serious drinking and pop philosophising.
The mood is set with a catchy early 60s pop instrumental by KPM regular John Scott, whose ‘Hi Flutin’ Boogie’ sounds like it came from a TV series that I know really well, but can’t for the life of me think which. It was produced by someone called George Martin apparently. This is followed by one of those great, quirky, UK pop numbers, though admittedly written by US citizen Randy Newman. It’s performed by London music biz veteran Duffy Power and comes complete with flugelhorns; quite a departure for an erstwhile rocker.
Now I knew that the Heavenly crowd had a soft spot for girl groups and the inclusion of the Darlettes’ ‘Lost’ is an expected treat, cunningly followed by Bettye’s ‘Make Me Yours’; clever, these guys could be DJs if the day job slows down. Next up is home territory for me, Herbert Hunter’s Nashville-created, Northern England-acclaimed dance number, ‘I Was Born To Love You’. Who said northerners ain’t got soul?
Then it’s back to the girls, though Claudine Clark’s husky tones don’t have the sweet allure of her backing vocalists. She was singing about a burial ground, so perhaps she had a fright. Texas rockers Elroy Dietzel & the Rhythm Bandits hit us with some good ole rock’n’roll swiftly followed up by Hal Harris’ hiccoughing rockabilly portrait of his ‘Jitterbop Baby’. That sounds like perfect pub music for a Saturday night tear-up to me. Rocker Little Richard gives us a later-career, soul-party stomper from his Vee-Jay era, neatly illustrated by a rare demo that was flown in all the way from our basement warehouse for scanning: thanks Simon. The song wasn’t officially released until 1970; these popsters sure know their onions.
I could have guessed they would have gone for some Zombies. ‘She Does Everything For Me’ is a great choice. Colin Blunstone’s unique vocals get me every time. It’s so clean. A Northern Soul ender is more of a shock, but the well-crafted song and superb production on Dan Folger’s ‘The Way Of The Crowd’ deserves to be appreciated across the genres.
Then there was Bill Oddie. Stranger things have happened, but not many. Who would have thought the ex-Goodie and bird-peeper would be appearing on Ace, especially as a serious artist? And he’s actually good at both the writing and performing end of this very different discipline; the song could have come straight out of the Brill. A shock of that magnitude needs to be followed by some solid ground and our Mary (Ms Love) and her evergreen soul staple ‘Lay This Burden Down’ is just that. Fellow Kent stable-mate Little Ann then provides the enigmatic ‘Sweep It Out In The Shed’, courtesy of Dave Hamilton’s Detroit master tapes and she is followed in turn by the prettily-voiced Barbara Lewis on ‘How Can I Tell You’. I must have missed out on that one first and second time around; it’s wonderful, but I’m not sure I should be getting soul lessons from indie rockers.
Barbara’s track does have a pop sensibility link, with Brian Hyland and Del Shannon having written it; the next musical leap to ex-Box Top Alex Chilton’s tender ‘The EMI Song’ is seamless. I still haven’t figured out what it’s about but I’m very glad to have been turned on to it. What’s not to like about Sniff’n’The Tears’ ‘Driver’s Seat’? Nothing: but now it’s on a hip compilation you’re allowed to hum it in public. From out of the left field comes an RAK B-side ‘Flight 2’ by Angelo & Eighteen which takes me back to the fascinating rhythms of John Kongos’ hit ‘Tokoloshe Man’. Glam-inspired Mustard used the approved super solid beat of the day by presumably using a couple of drummers and getting anyone passing the studio to come on in and clap and stomp; it’s infectious enough to kickstart a revival. Or perhaps it already was a revival, Gino with Johnny Greek’s ‘Hand Clappin’ Time’ was recorded a decade before, but sounds right in the same bag. Jump back another six years and Huey Smith was already ‘Having A Good Time’.
That’s three rave-ups in a row, so it’s time for a smoocher and it comes from the unlikely Ohio Players. Those cats were associated with spaced-out funk, but their paean to a lay-dee named Varee is in the classic soul lover ballad, complete with rap intro and some sweet shoop-shooping setting the mood behind a killer lead. That sort of quality didn’t happen overnight and we are shown the roots of slow dance in Robert & Johnny’s intense drama ‘We Belong Together’. There’s more lingering melody from the redoubtable Les Paul & Mary Ford with the now socially taboo ‘Smoke Rings’ which leads us neatly to the moody 70s smash ‘Pinball’ by Brian Protheroe. It’s OK, you can admit you like it too, it’s just passed its silver jubilee.
Eclectic, esoteric, inspired? I’m not sure which, but like Bob Dylan’s Theme Time Radio Hour, a lot of people are about to discover some very fine new music.
By Ady Croasdell (ACE RECORDS)
|Ace Records 2009||CD||17.00 €
|VA: - Saints And Sinners Vol. 5
16 obscure Rockin' shots from occident that will cut your head off !!
|Sheik Records 2011||LP||15.00 €
|VA: - Saints And Sinners Vol. 6
16 obscure Rockin' shots from occident that will cut your head off !!
|Sheik Records 2011||LP||15.00 €
|VA: - Saints And Sinners Vol. 7
||Sheik Records 2012||LP||15.00 €
|VA: - Saints And Sinners Vol. 8
||Sheik Records 2012||LP||15.00 €
|VA: - Sanat: Helena Eeva - Levytyksiä Vuosilta 1942-1959
Helena Eeva on kirjoittanut tekstin lähes 160:een iskusävelmään, mutta siitä huolimatta hän on monelle tuntematon. Tutummilta sen sijaan saattavat kuulostaa hänen käyttämänsä salanimet Asser Tervasmäki, Arvi Tarvainen, Aarne Torniainen, L. Suolakivi, A. Kajo, A. Tjärbacka, Hele Neva ja H. Neva.
Matti Louhivuoren vuonna 1953 laulamaan menestysiskelmään Suopursu Eeva teki tekstin Asser Tervasmäen nimimerkillä, samoin kuin Georg Malmsténin säveltä-mään Lasten liikennelauluun. Unto Monosen sävellykseen Orvon kyynel Eeva teki tekstin puolestaan Arvi Tarvaisen nimellä. Paula Koivuniemen laulama Toivo Kärjen sävellys Jos helmiä kyyneleet ois sai tekstin H. Eeva nimimerkillä. Helena Eevan merkityksestä tekstintekijänä kertoo osaltaan se, että monet hänen tekstejään esittäneistä solisteista ovat maamme parhaimpia laulajia. Hänen tekstejään ovat laulaneet mm. Olavi Virta, Henry Theel, Metro-tytöt, Kauko Käyhkö, A.Aimo, Tapio Rautavaara, Georg ja Eugen Malmstén, Sakari Halonen, Erkki Junkkarinen, Jorma Ikävalko, Jorma Lyytinen, Kalevi Korpi, Eino Grön, Eila Pellinen, Vieno Kekkonen, Ritva Simuna, Paula Koivuniemi, Vesa-Matti Loiri, Markus Allan ja Matti Salminen.
Helena Eeva oli kotoisin Metsäpirtin Eevalan kylästä. Hänen kotipitäjänsä oli ensimmäisiä paikkoija, joista Talvisodan alettua taisteltiin. Suomalaisten sotien aikana syntyneet yheteiset kokemukset ja Helenan oma traaginen elämäntarina värittävätkin hänen tarinallisia ja koskettavia tekstejään. Tieto tästä tuo teksteihin syvyyttä, johon tarkkaavainen kuuntelija helposti vajoaa.
Helena Eeva kuoli ennenaikaisesti vain 36-vuotiaana.
|Artie Music 2012||CD||17.00 €
|VA: - Sassafras & Moonshine The Songs Of Laura Nyro
Laura Nyro was famous for serving guests tuna fish sandwiches, her culinary repertoire being slim. I returned the favour: because I knew she’d named her publishing company Tuna Fish Music, I brought her a tuna fish sandwich backstage at the Troubadour in1969.
Yes, I was an embarrassingly diehard fan of the singer-songwriter, one of those young college women (along with more than a handful of men) who mooned over her and her music. She was so passionate, so soulful, so womanly. We were girls still; she seemed to have already unlocked secrets of grownup life and love, even though she was only a couple of years older. She had something to teach us and we were eager to learn.
It didn’t matter if we could understand her elusive lyrics; we felt them. Sassafras and moonshine? That felt to me like being high on liquor and a spice-filled sky. Buckles off shingles / off a cockleshell on Norway basin. That felt exotic and old-fashioned, all at once. Laura led us through a sensory wonderland and we followed, enchanted.
And her music: it burned, it soared, it shuffled, it vibrated. She whispered, she belted, she screamed at times. And we adored every measure.
So, it seemed, did many of the musicians of her time. Everyone wanted to record a Laura Nyro song, from Peter, Paul & Mary to the 5th Dimension, from jazz instrumentalists to all the other artists in this collection. Laura’s songs were gold – even if her own recordings never made a big commercial splash.
And scores of other musical artists who didn’t record Laura’s songs were extraordinarily influenced by her. As singer-songwriter Wendy Waldman told me, Laura liberated musicians to employ all their influences in crafting a pop song – just as she had combined jazz, folk, classical, 60s soul, the Beatles, Dylan and Tin Pan Alley. “All of the great songwriters have combined certain elements, maybe three at a time,” said Waldman, “but [Laura] would combine ten of them. It was so ahead of its time that it’s still ahead of its time.”
Those of us who loved her music worshipped her transcendent performances as well as her brilliant recordings. I was lucky enough to see her more than a dozen times, sometimes sitting just steps away from her as she pounded out her syncopated piano rhythms in a small club. She was like a shaman holding court in the early days of her career; in later years she was a wise and welcoming earth mother, enveloping us with her resonant vocals.
On a hot August night this summer, Laura came back to her hometown,New York City, even though she’s been gone from us since her death in 1997. But Lincoln Center brought her back to life by sponsoring an outdoor tribute concert, featuring artists who variously knew, loved and worked with Laura. Her brother Jan Nigro sang ‘And When I Die’ – the precocious composition Laura wrote in her teens – while her son Gil Bianchini performed a rap to ‘Eli’s Comin’’. Felix Cavaliere of the Rascals, who produced one of Laura’s albums, sang the summer-ready ‘Blowin’ Away’, while Nona Hendryx and Sarah Dash – two-thirds of Labelle – performed several songs off their classic Nyro collaboration “Gonna Take A Miracle”. Melissa Manchester introduced ‘Stoned Soul Picnic’ by reminding us that Laura had asked a question no one had heard before: “Can you surry?”
I was a teenage fan again in the muggy New York twilight, a wide smile stuck to my face. How perfect to hear that music in the city that shaped it – the city that Laura showed us to be, as Bette Midler put it when she inducted her into the Rock & Roll Hall of Fame this past spring, “an extraordinary place to be young, alive and in love”.
But I was also that grown up woman now; I had even written a biography of Laura Nyro ten years earlier. Nonetheless, when someone’s music touches you so deeply, is engraved forever on your young heart, you can easily return to the age you were when you heard it the first time.
I suggest that New York City hold a Laura Nyro night every summer from now on. I’ll be there, ready to surry on soul. And if I wasn’t a vegetarian, I’d be eating a tuna fish sandwich while the music played.
By Michele Kort (Ace Records)
|Ace Records 2012||CD||18.00 €
|VA: - Say When - Ember Sixties Pop Vol. 1
22 rare tracks from British indie label EMBER Records. Sixties Pop scene
|Fantastic Voyage 2010||CD||9.00 €
|VA: - Schlager Im Spiegel Der Zeit 1954
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1955
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1957
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1959
||Bear Family 2010||CD||17.00 €
|VA: - Screeching Octopus
||Screw Records 2009||CD||15.00 €
|VA: - Shattered Dreams - Funky Blues 1967-1978
As soul became the music of black America in the late 60s, blues performers had to adapt to survive. Playing to the white rock crowd was an attractive option, but in hundreds of sweaty, run-down clubs across the US an older urban black audience was still there to be entertained. Blues musicians made a few concessions to the age, added funk licks and a few soul screams and created some seriously good music, which has often been ignored by blues scholars. “Shattered Dreams” is BGP’s celebration of that period.
In recent years funky blues has become a sought-after genre, especially with younger collectors. Numbers such as Finis Tasby’s ‘It Took A Long Time’, Slim Green’s ‘Shake It Up’ and Buddy Guy’s ‘I’m Not The Best’ can all fill a dancefloor with their wild energy. The blues guys could certainly hit a groove, but if this CD captures anything it is a sense of despair you can hear as Smokey Wilson sings ‘You Shattered My Dreams’ – despair for an age that was fading away.
Drawn from the vaults of such influential players as Stax, Modern and legendary producer Johnny Otis, this is exciting music from major names such as Little Milton, Lowell Fulson and Albert King, all using the nous gathered through years on the chitlin’ circuit to keep themselves relevant to record-buying audiences of the day. Elsewhere we have some terminally obscure names and cult heroes. Finis Tasby and Smokey Wilson create music of great worth that was rarely heard at the time, never mind 40 years later. This is music that has been hidden away, sometimes ignored for being neither one thing nor the other.
Put “Shattered Dreams” in the player and you will very quickly be brought into a world of older guys still making it in the world. There is a lot of tough talk, but despite being cool, they are still stuck in a world of trouble full of women that make it hard for them, or who are trying to use them. Listen to Albert King on ‘Playin’ On Me’ and you are listening to a man expounding themes that wouldn’t sound out of place on rap records recorded decades later. The same could be said of Smokey Wilson’s previously unreleased ‘High Time’ or Arthur K Adams’ ‘Gimme Some Of Your Lovin’’.
These 21 tracks define an era when bluesmen were not the big stars they had been a decade or so earlier, struggling to keep it together in a world where their music was fast becoming a thing of the past.
By Dean Rudland (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - She Got Eyes
||Pan American||CD||15.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE