Super Rare Rockabilly 3CD
Result of your query: 52 products
|Alvin Cash - Windy City Workout - The Essential Dance Craze Hits 2CD
Chicago soul music is one of the many regional variations that proved nationally popular during the 1960s and this unique collection celebrates one of the city’s many stars Alvin Cash. An often overlooked sub-genre is the almost never-ending stream of dance craze records which caught the national imagination, and Alvin Cash was among the leading exponents.
Windy City Workout is the first ever legitimate CD release devoted entirely to Cash’s recordings. Disc 1 opens with his sole album release Twine Time, named after his biggest hit, and continues into Disc 2 with all of his single releases in chronological order. This deluxe memorabilia-laden package features notes from the eminent Chicago blues and soul expert Robert Pruter, and the track listing denotes all the chart placings he secured on America’s pop and R&B charts.
Cash’s recordings for Mar-V-Lus, Toddlin’ Town, Seventy-Seven and Sound Stage Seven are all included. Also featured are three tracks which only ever appeared on the now ultra-rare Toddlin’ Town LP, Wilson Pickett’s ‘Funky Broadway’ and two Arthur Conley hits, ‘Funky Street’ and ‘People Sure Act Funny’. Dances with instructions include The Twine, The Boo Ga Loo, The Bump, The Barracuda, The Boston Monkey, The Penguin, The Freeze, The Charge, The Popcorn and, second only to The Twine, The Ali Shuffle, a dance which Alvin dedicated to Mohammed Ali.
Alvin Cash passed away in 1999 but his music still resonates on today’s soul scene, as a quick visit to YouTube will attest. This carefully compiled 2CD set is the first comprehensive retrospective of his work and is testimony to the power of dance music; get up and get down is all you can really do to this collection.
|Charly Records 2012||2-CD||18.00 €
|Alwari Tuohitorvi - Rokataan Vaan - Emi Vuodet 1974-1979 3CD
Alwari Tuohitorvi levytti vuosina 1974-1979 Emille yhteensä viisi pitkäsoittolevyä. Tälle kokoelmajulkaisulle on koottu yhteen kaikki yhtyeen Emi-levytykset joiden myötä bändi nousi suureen suosioon ja sitä pidettiin 1970-luvun puolivälissä maamme toiseksi suosituimpana rock-yhtyeenä heti Hurriganesin jälkeen. Ulkomaista esikuvaa etsittäessä Alwari Tuohitorvea rinnastettiin ahkerasti etenkin Sladeen.
|Emi Finland 2012||2-CD||19.00 €
|Connie Francis - Eight Classic Albums Vol. 1 4CD
||Real Gone Records 2012||2-CD||9.00 €
|Connie Francis - Eight Classic Albums Vol. 2 4CD
||Real Gone Records 2013||2-CD||9.00 €
|Dr. Feelgood - Get Rhythm - The Best Of 1984-1987 2CD
||Union Square Music 2013||2-CD||15.00 €
|Dr. Feelgood - Live At Rockpalast CD + DVD
IT’S OFFICIAL – THE BLUES BAND ARE STILL ROCKIN’
One of the joys of today’s thriving ‘live’ music scene is that it ensures the continuing presence of the Blues Band, one of the UK’s longest established touring and recording outfits.
It combines the talents of such legendary performers as Paul Jones and Tom McGuinness along with stalwarts Dave Kelly, Gary Fletcher and Rob Townsend and during 2011 they were as busy on the road as they were in the studio.
With a career stretching back 32 years the band has released a succession of fine albums, many of which are now scheduled for release on Repertoire. We have already seen the release of ‘The Best Of The Blues Band’ together with brand new studio album ‘Few Short Lines.’
Now their 1980 debut ‘Official Blues Band Bootleg Album’ and its follow up ‘Ready’ are all due out on Repertoire, complete with new interviews with the band members. They certainly have some fascinating stories to tell about the birth of the group. Tom and Paul were both original members of 1960s pop hit makers Manfred Mann and then enjoyed prolific solo careers before assembling the Blues Band in 1979.
Dave Kelly, a superb singer and slide guitarist was recruited to share guitar duties with Tom and he recommended bass guitarist Gary Fletcher formerly with East London ravers Sam Apple Pie. On drums in the original band was Hughie Flint, a veteran of John Mayall’s Bluesbreakers. Hughie was later in McGuinness Flint with Tom and had a hit with ‘When I’m Dead And Gone’ back in 1970. Today’s Blues Band drummer is the brilliant Rob Townsend, who first came to fame with Family and has been a BB regular for the past 30 years.
The ‘Official Bootleg’ mainly features ‘covers’ of blues standards like Elmore James’ ‘Talk to Me Baby’ and ‘Two Bones And A Pick’ by T Bone Walker but also has a few originals such as ‘Dave Kelly’s ‘Going Home’. The album’s defiant title comes from the decision to fight back against the record companies that ignored them and said they were ‘too old’ and to press and distribute their own LPs. Eventually the album proved a best seller and a ‘real’ contract was awarded, leading to ‘Ready’ the band’s second and truly official album. Its 12 tracks have songs from the likes of Willie Dixon, Bob Dylan and Ray Charles but also original compositions by Paul Jones, Dave Kelly and Tom McGuinness such as ‘Noah Lewis Blues’, ‘Come On In’ and ‘SUS Blues’.
But back to the beginning. Paul and Tom were Manfred Menn when they hit the charts with ‘Doo Wah Diddy Diddy in 1964. After many more hits Paul embarked on a successful career as an actor and broadcaster. Tom later formed McGuinness Flint in 1969 but the group split in 1971.
After a decade in the theatre Paul Jones yearned to return to the music he loved. He phoned Tom and wondered if he’d be interested in forming a blues group. McGuiness would, as long as it didn’t involve too much touring. Tom: “We got together to do just two gigs in the Spring of 1979.”
These were held at the ‘Bridge House’ pub in Canning Town. Tom: “It sort of mushroomed in the most surprising way. Often a lot of the best things in life happen by chance. After one night at the Bridge House all our phones started ringing.” They were asked to do other venues like the Half Moon, Putney and the Golden Lion, Fulham. But there were more surprises to come.
“We were astounded at the reaction. We went to the Bridge House for a sound check and then drove back to my place in Greenwich for a bite to eat. Drove back to the gig and we couldn’t park anywhere. It sounds naïve but we thought there must be a wedding or a function on. But the place was packed out with people coming to see us!”
Fans came up to them after the performance saying they’d love to buy a record. “So we thought we’d better make one. We had recorded a few tracks at the Hope & Anchor in Islington for an album called ‘R&B In London’. Then we went into a studio and laid down a few more tracks and put an album together.”
‘I’VE GOTTA START A BAND…’
Paul Jones: “At the time I’d been making my living as an actor for ten years doing straight plays. During that time I had very little to do with music of any kind. Then by the end of the Seventies, punk rock happened. As a side issue of punk a lot of bluesy bands came out of Essex like Dr.Feelgood, Eddie & The Hotrods and the Kursaal Fliers. By 1978 I was haring out of whatever theatre I was in and racing to the nearest gig. I might be at the Queens Theatre in Hull then when the curtain came down, I’d go off to see The Pirates playing in pub, still with my face make up on, just in time for the last two songs and the encore. Then I thought ‘This is ridiculous, I’ve just got to start a band.’
One night in late 1978 he chatted to the manager of the Hope & Anchor in Islington about his plan to put a blues band together. He replied: ‘Anytime you want a gig, ring me.’
Jones then contacted McGuiness. “Tom said: ‘I’m rather busy. It’s not going to be every night is it?’ I said it would only be one night a week. So then he was interested. I asked who we should get and he said ‘Hughie Flint’. For a while the band was a trio with no bass player. Then somebody told us Dave Kelly was around, doing solo gigs in folk clubs. He joined us on slide guitar and he brought Gary Fletcher with him. So that was the band. Gary was the least experienced but he had played with Sam Apple Pie a real heads down, no nonsense boogie band. “
Dave Kelly says: “Tom and Paul were looking for another guitarist and a mutual friend put me in touch. I wasn’t playing much at the time, just in a pub band called Dogs that had Wilgar Campbell, Rory Gallagher’s old drummer and Gary Fletcher who came into the Blues Band with me and Tom Nolan on guitar. As I had two young children I had to get a day job and was driving a laundry van. Then Tom called, we rehearsed and it all worked out. Tom played lead and I played slide and it made a nice contrast. What I liked about the band was every song was a single and didn’t go on for 15 minutes. I was also able to sing as well, which was nice because in every other band I’d been in, I’d been the lead singer.”
Gary Fletcher: “Before I joined the Blues Band I was driving a minicab. One damp morning a guy walked into the cab office in Streatham and wanted to go to Heathrow, wait and return. The guy was Wilgar Campbell the drummer, who had recently left Rory Gallagher’s band. We got chatting on the way and he was going to pick his sister up from the airport. It turned out we lived in the same road. When Wilgar heard I’d played with Sam Apple Pie he offered me a Sunday night blues gig.
So I went to the Bridge House where he had Tom Nolan on guitar who also worked at Fender Guitars. Wilgar played drums and he had Dave Kelly was singing and playing guitar. We played the Bridge House a few times as The Wild Cats. We travelled in Dave’s laundry van full of dirty laundry with our amps and guitars on top. One night Dave n said ‘I’ve had enough of this. I’ve had a call from Paul Jones and Tom McGuinness about forming a new band.’ So I said ‘If they need a bass player give me a shout!’ In the end I got a call and went along to rehearse with them in a church hall in Greenwich.”
Paul: “The Bridge House was our first gig and very enjoyable it was too. I was keen that not every song lasted ten minutes. My influence was an album by James Cotton called ‘Live And On The Move’. It was a double vinyl album but he was doing just two and a half minute songs. I thought that was great! So we did short tunes and insisted the flavour of the song persisted through the solos.”
Dave Kelly remembers their first gig: “We sound checked in the afternoon then drove back through the Blackwall Tunnel to Tom’s house and had some food. When we arrived back at the Bridge House at 7.30 p.m. we couldn’t park anywhere near the place. We thought there was a wedding on. But we found the place was absolutely heaving – ‘Oh Blimey!’ And it all went very well. Paul had put in a week of gigs and they were all sold out. So there was a market for the blues!”
The new outfit acquired manager Ray Williams and bootlegged their own album putting it out one thousand copies in a plain white sleeve. They numbered and signed them by hand and sold them all at gigs. Ray Williams got an Our Price record store in the West End to take a hundred copies. At 2 p.m. the store rang up and asked for another hundred LPs as they’d sold out.
THE BLUES BROTHERS – NOT
Tom: “Bear in mind we had offered it to a few record companies including EMI, who said they didn’t want ‘another band of veteran musicians.’ This was in 1979, when we were still in our thirties. A&M turned us down and said ‘Thank you for offering us the Blues Brothers.’ But when we made it into the Our Price chart, Arista steamed in and bought the album off us with options to make three or four more. It was very nice to be suddenly in demand. We were flavour of the month – again. When Paul rang up saying ‘Do you fancy playing some blues?’ I told him I didn’t want to go back on the road. So here I am 32 years later, still going on the road!”
Paul: “Although I told Tom we’d only do one gig a week, by the time the band had been going for a matter of weeks, we were working every night. People came up and said ‘Have you guys made a record?’ We suggested to our manager we should try and get a record deal. We had several rejections and they all said: ‘You are too old.’”
It was after a gig in Fulham that, Paul suggested they pool resources and make their own record. “I said we could do the album ourselves and just sell it. Gradually we aroused a fair amount of enthusiasm. So we dug into our bank accounts and made the album. The reason it is called ‘The Official Blues Band Bootleg Album’ is it was officially our album but it was a ‘bootleg’ in the sense that when we finished the recording we had no money left to pay for the mastering and pressing. They had given us a ‘listening’ copy and we made a thousand recordings from that copy. We’d then re-pay the remaining costs from any money we got from selling them. We got blank white LP sleeves, bought a John Bull printing set and stamped the album name on the front of the sleeves and then numbered them so they were obviously a limited edition. Then we went to the manager’s office, sat on the floor signing all these albums.”
“We knew we had a hit. Our manager got us the deal with Arista and the ‘Bootleg’ album was pressed up again with a band photograph on the cover and sleeve notes. It sold tens of thousands and went into the charts, as did the next two ‘Ready’ and ‘Itchy Feet’.”
CALLING FOR HUGHIE
The success of the Blues Band was a pleasant surprise for Hughie Flint who had been off music scene for a while. “When I got a call from Tom I said ‘Well okay, I’ll see if I can find my drums in the attic!’ I eventually found my drums and we rehearsed and jammed I knew Paul but I didn’t really know Dave Kelly or Gary Fletcher. It was nice meeting them for the first time. I fell in love with Kelly straight away. He’s such a funky and bluesy player and had been with the John Dummer Blues Band. Gary was aged about 12 (!) when he first joined the band and was a lovely guy.
“The band just felt right. Compared to John Mayall’s Blues Breakers it had more of a rock approach. We had all moved on from the early Chicago blues style. With the Blues Band it wasn’t such a rigid format and the repertoire was much more varied. Within the two years I was with the Blues Band it was like a fulfilment of my rock-blues drumming.”
Hughie left the Blues Band in 1981 and was replaced by, Rob Townsend, formerly with Family and Rob has been a stalwart member of the group ever since. Flint played on ‘Bootleg’ and ‘Ready’ but grew tired of touring. “And all my life I’ve had a resistance to being on the road. I talked to the guys, said I wasn’t happy and left after completing the existing gigs at the end of 1981. They couldn’t have got a better replacement in Rob Townsend.”
The Blues Band split up for a while, when Paul returned to the theatre, but has been highly active in recent years. During 2011 The Blues Band embarked on an extensive UK Autumn tour and released new album ‘Few Short Lines’. With their pedigree, there was no need to bootleg it!
|Repertoire Records 2013||2-CD||23.00 €
|Duane Eddy - 6 Classic Albums Plus Bonus Singles 4CD
||Real Gone Music 2012||2-CD||9.00 €
|Eddie Cochran - 2 Classic Albums Plus Singles And Session Tracks 4CD
4CDs = 94 tracks
|Real Gone Records 2012||2-CD||9.00 €
|Ella Mae Morse - Two Classic Albums And Singles Collection 4CD
||Real Gone Music 2013||2-CD||9.00 €
|Elvis Presley - 3000 South Paradise Road 2CD
Disc 1 - the Consert recorded live at the Las Vegas Hilton August 12, 1972 dinner show
Disc 2 - The rehearsal recorded live on a cassette recorder at The Las Vegas Hilton, August 4, 1972
|Follow That Dream 2012||2-CD||29.00 €
|Elvis Presley - Blue Hawaii 2CD
The CD is an expanded edition of the original soundtrack album ‘Blue Hawaii’ originally released in 1961.
It contains many previously unreleased out-takes and alternate versions of the soundtrack recording including Elvis’ number 1 hit, ‘Can’t Help Falling in Love’.
As a bonus, the CD is accompanied by a 40 page book containing many rare and unpublished photographs taken on and off the set of ‘Blue Hawaii’.
|Memphis Recording Service 2012||2-CD||25.00 €
|Elvis Presley - From Elvis At American Sound Studio 2CD
||Follow That Dream Records 2013||2-CD||29.00 €
|Elvis Presley - Recorded Live On Stage In Memphis 2CD
Vuonna 1974 Kuningas heitti USA:ssa 150 loppuumyytyä
konserttia ja 20.3. taltioitu konsertti Elviksen kotikaupungissa
Memphisissä julkaistiin RCA:n toimesta.
Nyt julkaistavalla Legacy Editionilla alkuperäinen
konserttitaltiointi uudelleen miksattuna ja masteroituna sekä bonuksena
kaksi päivää aiemmin äänitetty keikka ja treeninauhoituksia elokuulta
|Sony Music 2014||2-CD||15.00 €
|Ennio Morricone - Morricone In Colour 4CD
With his peerless versatility and productivity, Ennio Morricone is one of the most famous and influential composers of the twentieth century.
Drawing from an extraordinary range of musical styles, his 500 film scores have
accompanied every conceivable musical genre.
Morricone's innovative soundscapes for Sergio Leone's mid-sixties spaghetti westerns
changed film music forever. In any context, the composer's work is a formidable
combination of eclecticism, sensuality and playfulness.
The eight film soundtracks featured in the this box set all derive from the period between the late sixties and mid-seventies when the Maestro was in his pomp. The arty erotica of Giuseppe Patroni Griffi's Metti, una sera a cena is perfectly complimented by Morricone's cool jazz score and his music gives humour and great beauty to such offbeat period pieces as Forza g and Il Gatto and the abstraction that is L'assoluto naturale (starring the Yugoslavian actress Sylvia Koscina and the superb Laurence Harvey).
Arguably the most impressive of the set are the composer's scores for the early Argento giallos, The Bird with the Crystal Plumage and Four Flies on Grey Velvet. In the former, Morricone's ominous, haunting music establishes an almost unbearable suspense and for the latter combines bracing atonality with a send up of progressive rock (the director's first experiment with such music and a prelude to Goblin)
|Cherry Red Records 2012||2-CD||35.00 €
|Everly Brothers - Songs Our Daddy Taught Us 2CD
Fifty-five years after the Everly Brothers recorded 'Songs Our Daddy Taught Us', Billy Joe Armstrong of Green Day and jazz chanteuse Norah Jones teamed up to do every song on the album in the classic Everly style. Now Bear Family—the world’s premier archive label places another twist on that classic LP. Bear Family is not just reissuing the original Everly Brothers LP on CD in pristine audio, but fleshing out with a second CD with early or original versions of the songs that the Everlys learned from their father – 'Songs Their Father Learned'. So a revealing album now becomes doubly revealing. Hear this music as it emerged from the hills of Appalachia in the early twentieth century. Then hear the Everly Brothers’ versions. And then hear Billy Joe Armstrong and Norah Jones. It’s a journey like no other through the roots of American music—and American music is really, truly the music of the world.
It’s an album that has grown in stature every year. It was a concept album a decade before concept albums were supposedly invented. It was a folk revival album before the folk first revival, before the second folk revival or the most recent folk revival. It’s not just one of the great albums of the Fifties—it’s one of the greatest albums of all time. It’s the Everly Brothers’ 'Songs Our Daddy Taught Us'.
In 1958, the Everly Brothers decided to do a very different LP. It wouldn’t be teen songs, it would be a tribute to the songs that their father—a jobbing, journeyman country musician and pioneering finger-style guitarist—taught them when the Everly family act played country radio shows in the early 1950s. At a time when country music was becoming slick and commercialized, 'Songs Our Daddy Taught Us' was a statement about country music’s roots. It’s about country music when it was called folk music because it was folk music. The Everlys chose songs written between the 1600s and 1950, yet made a unified statement from them. They sang and played guitars with just a string bass for extra accompaniment. It was a daring move for the duo in 1958, singing ancient songs of darkness, loss, and death, to their teenage rock ‘n’ roll audience, but it was a move that paid off.
Bear Family closes the gaps between the originals that inspired the Every Brothers, the early or original versions of the songs that the Everlys learned from their father, and the brand new cover album, 'Foreverly' by Billy Joe Armstrong and Norah Jones.
|Bear Family 2013||2-CD||25.00 €
|Fabulous Thunderbirds - Powerful Stuff / Walk That Walk, Talk That Talk 2CD
The first T-BIRD albums to be made following the departure of founder member JIMMIE VAUGHN, and he is replaced by the twin attack of DUKE ROBILLARD (formerly of ROOM FULL OF BLUES) and KID BANGHAM.
‘Powerful Stuff’ was originally released in 1989, and ‘Walk That Walk, Talk That Talk’ was released in 1981.
This 2 disc set has been re-mastered and packaged in digi-pack format this collection has been out of print for some time.
|Floating World Records 2013||2-CD||17.00 €
|Hank Williams - Eight Classic Albums 4CD
||Real Gone Music 2013||2-CD||9.00 €
|Huey Piano Smith - It Do Me Good 2CD
The Banashak & Sansu Sessions 1966-1978.
When it comes to good time rollicking rock’n’roll or rhythm’n’blues, there are few exponents to match Huey ‘Piano’ Smith. One of the greatest of New Orleans’ many pianists, Smith began his career with blues men like Guitar Slim and Earl King and enjoyed a string of classic hits in the late 1950s. During that time he wrote and recorded three of rock and roll’s most enduring classics, ‘Rockin’ Pneumonia And The Boogie Woogie Flu’, ‘High Blood Pressure’ and ‘Sea Cruise’, the latter featuring the vocals of Frankie Ford. His career continued well into the 1970s.
This deluxe package is an upgraded version of a Charly CD released in the late 1980s, Pitta Pattin’. This collection - featuring the recordings he made for the Instant label in the late 1960s - has now been expanded to include several tracks not featured on the original including the ultra rare ‘Two Way Pock-A-Way’, ‘Epitaph To A Black Man’ and ‘The Whatcha Call ‘Em’ plus several newly discovered, previously unissued recordings. His powerful piano can be heard to good effect on the previously unissued, ‘I’m Boss Pt 2’ with its almost Northern Soul sound.
Many of Smith’s early Instant 45s were big local hits in New Orleans and Louisiana without ever denting any national charts and have long been sought after by collectors, with some, like ‘Two Way Pock-A-Way’, proving almost impossible to find today. Also featured are versions of ‘Rockin’ Pneumonia’, ‘High Blood Pressure’ and ‘Don’t You Just Know It’ recorded for an Atlantic LP that was never released. By way of a bonus, Huey’s last known recordings made for Allen Toussaint’s Sansu company in 1978 make their CD debut here, more than thirty years after their first release on Charly vinyl.
These are the last recordings of Huey Smith who retired from music to concentrate on his religious beliefs in the early 80s. He now lives in retirement in Baton Rouge but still happily acknowledges his huge contribution to New Orleans R&B and to rock’n’roll in general.
|Charly Records 2012||2-CD||18.00 €
|Jerry Lee Lewis - Southern Roots 2CD
Southern Roots – The Original Sessions (2-CD)
2-CD DigiPak (6-plated) with 32-page booklet, 39 tracks. Playing time approx. 124 mns.
The legendary 1974 sessions form the Trans Maximus Studios in Memphis, Tennessee featuring Jerry Lee Lewis - voc/piano, backed by Stax studio catts and members of the Blues Brothers band, and Booker T. & The MGs (Steve Cropper - guitar, Donald 'Duck' Dunn - bass, Al Jackson Jr. - drums), Carl Perkins - guitar, Tony Joe White - guitar, The Memphis Horns, a.m.o.
At long last here are the original session tapes that produced Jerry Lee Lewis' 1974 'Southern Roots' LP. Produced by Huey Meaux, a fellow Louisiana wildman, the final results reveal what happens when two fiery, free-spirited forces lock horns in the studio.
Meaux had just gotten out of prison and had a reputation you wouldn't want in your family tree. Separately, Meaux and Lewis each spelled trouble in a big way and could be impossible to work with. Together? God knows what would happen. The results could be an utter disaster or a stroke of genius. As Meaux later observed, "I knew Jerry and I would fight, but in the end we'd come out with the record. We fought, but we delivered."
For three days in September, 1973 Jerry Lee Lewis and Huey Meaux went at it, and each other. Listen as Jerry Lee is turned loose in the studio by a producer who did try to rein in Jerry's ego. In fact, Meaux did everything he could to feed it. That ego is nowhere more evident than on Jerry's version of the Percy Sledge 1966 hit, When A Man Loves A Woman, which Jerry turns into a sermon on war between the sexes.
Jerry and Huey cut mostly southern music – soul, country, R&B and a touch of swamp pop. They even included a surprisingly impassioned version of Johnny Ray's 1952 hit record, Cry.
Little did we know that there was supposed to be a second 'Southern Roots' album. Only ten tracks ever appeared on the LP – a scant 34 minutes of music - but we've got it all here, including the music that was scheduled to appear on the second 'lost album,' all neatly overdubbed and ready for release. We've also got the stuff you were never meant to hear, and there's plenty of it.
Some 40 years later this CD lets you be a fly on the wall as Jerry and Huey square off at one another, laughing, arguing and making music late into the night. It's Jerry Lee as you've never heard him before.
|Bear Family 2013||2-CD||34.00 €
|Johnny Ace - Ace's Wild 2CD
Johnny Ace, one of R&B’s brightest but most short-lived supernovas, is celebrated on Ace’s Wild!, two discs roping together all his solo singles along with sublime piano sessions for the likes of B.B. King and Bobby “Blue” Bland.
Compiled and annotated in intricate detail by Dave Penny, the set is high on the lower elements of the battered soul, running the gamut from yearning to regret, highlights including his inimitable grasp of the ’heart-ballad’ on hits including “My Song”, “The Clock” and “Please Forgive Me”, but also jumping R&B outings such as “Never Let Me Go”.
Ace carried all the credentials of a short-lived R&B legend, from lucky studio break leading to huge hit debut, success accompanied by ruthless music business skulduggery, escalating alcohol relieving pressure and dramatically tragic death, in this case dressing room jinx with a pistol resulting in fatal Russian roulette-style death on Christmas Day, 1954.
Born in 1929 to a musical family in South Memphis, John Marshall Junior taught himself to play piano at home after returning from service in World War Two. By the end of the decade, he was playing sessions for B.B. King, Earl Forest and Bobby “Blue” Bland, some chance fooling on the piano at a session resulting in his first single for David Mattis’ Duke label. “My Song” subsequently spent nine weeks on top of the R&B charts in late 1952. Mattis was then systematically ousted, seeing both his Duke label and star artist hijacked by heavyweight music mogul Don Robey. A string of hits ensued, including “Cross My Heart”, “The Clock”, “Saving My Love For You”, “Please Forgive Me” and “Never Let Me Go”, Ace continuing to play blues sessions, while Robey whisked him to L.A. to plant him over the more sophisticated backdrops of the Johnny Otis and Johnny Board orchestras.
By 1954, the pressure was getting to him as recording sessions were fitted around gruelling touring (often supported by Big Mama Thornton, their rare duet on “Yes, Baby” also included on this compilation). Increasingly cushioned by alcohol and prone to depression, Ace accidentally shot himself in the head while fooling with a gun in the dressing room at a Christmas day show in Houston. Robey swiftly cashed in with what became one of Ace’s biggest hits; the heavenly “Pledging My Love”, assuring posthumous immortality, further bolstered by tribute singles from the likes of Johnny Fuller, Frankie Ervin, Varetta Dillard, the Rovers and Five Wings; featured here as bonus tracks, providing a poignant finale.
Johnny Ace was a monumental talent dealt the worst hand imaginable much too soon. By rounding up every recording credited to the artist in his own right, plus his neglected session work, Ace’s Wild! provides an overdue, comprehensive survey of – and worthy tribute to – his short but spectacular career.
|Fantastic Voyage 2012||2-CD||15.00 €
|Johnny Hallyday - The Very Best Of 2CD
||Union Square Music 2013||2-CD||10.00 €
|Julie London - Eight Classic Albums Vol. 2 4CD
Eight original LPs on 2CD. 96 tracks
|Real Gone Music 2013||2-CD||10.00 €
|Leona Williams - Yes, Ma'm He Found Me In A Honky Tonk 3CD
3-CD digipac (8-plated) with 48-page booklet, 82 tracks. Total playing time approx. 217 mns.
Contains 82 classic country tracks, including her top ten hit duet with Merle Haggard, The Bull And The Beaver!
Includes many previously unreleased recordings and a 'lost' album produced by Tompall Glaser!
Contains a biography based on extensive personal interviews!
48-page booklet with many rare photos from Leona Williams' personal collection and a detailed discography!
Some colleagues and friends about Leona Williams:
"Leona Williams is a great singer. She sings with a lot of soul. I know her family must be very proud of this Bear Family box set. I wish her a lot of happiness and success." - Willie Nelson
"When I listen to Leona Williams sing it goes right to my heart; I can feel every emotion that she puts in a song. In my opinion Leona Williams is one of the greatest songwriters of our time. My only regret is that I don't get to see her enough, but when I do it's an honor to be in her presence. I am so excited because I'd like to do a whole damn album of her songs, even though I am a little scared I couldn't do them justice, but guess what?.....I'm gonna try!" - Tanya Tucker
"Leona Williams.....the purest voice this side of the Mississippi and beyond! Skillfully crafts songs from a woman who has lived through the lyrics she writes. My heart-felt thanks for creating this traditional country music collection! I love your music and the honesty it brings." - Rhonda Vincent
"Leona Williams is the greatest female country singer that has ever stepped up to a microphone. She can make a grown man cry with her sad songs. I love the lady and her music. What a nice lady!" - George Jones
"Leona will always be one of my very favorite people in the world. She was the first artist that ever thought enough of one of my songs to record it. And that feeling of having one of your own songs recorded by someone else has lasted a lifetime." - Vince Gill
If ever in the annals of country music there was a 'singer's singer' it would have to be Leona Williams. She is regarded as one of the finest 'pure country' vocalists and continues to tour the world entertaining her loyal fans. Her personal singing hero, George Jones, has referred to her as "one of the greatest country singers that has ever stepped up to the microphone."And Merle Haggard was so taken with her vocal abilities that he married her (a union they would both come to regret.)
Williams began her career as a teenager in her home state of Missouri with her own local radio show, before moving to Nashville and signing with Hickory Records in 1968. She recorded such classics as Once More, Yes Ma'm (He Found Me In A Honky Tonk) and Country Girl With Hot Pants On. She moved on to RCA Records and then MCA, where she worked with future husband Merle Haggard, and top-notch producers like Porter Wagoner. This set features 82 classic tracks – all of her studio recordings, including several previously unreleased tracks, for Hickory, and a complete unreleased LP produced in 1986 by Tompall Glaser. A detailed discography and liner notes by Randy Fox, drawn from extensive interviews with Williams, tell the story of her incredible life and career.
|Bear Family 2013||2-CD||40.00 €
|Million Dollar Quartet - Legendary Session 2CD
In late 1956 four giants who shaped the landscape of American popular music met in Memphis. This 2CD set captures every minute of Elvis Presley, Carl Perkins, Jerry Lee Lewis and Johnny Cash’s informal yet historic get-together at Sun Studios, the birthplace of rock ‘n’ roll. Plus a bonus selection of the original tracks that inspired this superstar session.
|Union Square Music 2013||2-CD||12.00 €
|Muddy Waters - You Shook Me 2CD
The Chess Masters Vol. 3 1958-1963.
Six years after the last set of Muddy Waters’ Chess recordings by Hip-O Select, the boutique label will release You Shook Me: The Chess Masters Volume 3 1958-1963 next week.
While Waters’ profile was well on the rise before the period covered on this two-disc set – having put singles like “I’m Your Hoochie Coochie Man,” “I Just Want to Make Love to You” and “Mannish Boy” in the upper reaches of the R&B charts – You Shook Me is notable for being anchored not only around single releases but two of Waters’ first LPs. 1960′s Muddy Waters Sings “Big Bill” was a tribute to Big Bill Broonzy, the Chicago bluesman who gave Waters one of his first major professional breaks opening for him at local clubs. The other, recorded that same year, was Muddy Waters at Newport 1960, a killer of a live album that featured revelatory versions of “Hoochie Coochie Man” and “Got My Mojo Workin.’”
This 49-track set also includes one unreleased instrumental, “Sweet Black Angel,” and a handful of songs that appeared only on a multi-LP box set of Waters’ Chess output released in Japan. Mary Katherin Aldin pens liner notes for the booklet, which is filled with rare photos of Waters in action.
|Universal Music 2012||2-CD||40.00 €
|Nina Simone - Deluxe - The Anthology Collection 3CD
||Music Brokers 2013||2-CD||15.00 €
|Rockpile - Live At Rockpalast CD + DVD
ROCKPALAST is a legendary ‘live’ music TV show hosted in Germany by the WDR channel. It first broadcast in 1974 and has become a pan-European television institution. It has its own fan club and online forum, and in almost four decades, it has become a trademark of quality viewing and listening.
PERFORMANCE DATE: MARKTHALLE HAMBURG, GERMANY, 12 JANUARY, 1980. Their only appearance as Rockpile (though Dave Edmunds appeared solo later in 1983).
Rockpile was a tight, entertaining band combining the talents of Dave Edmunds (guitar, vocals), Nick Lowe (bass, vocals), Billy Bremner (guitar, vocals) and Terry Williams (drums). This is an essential release for fans, as Rockpile never released a ‘live’ album in their short lifetime.
Contains greatest hits from both Dave Edmunds’ and Nick Lowe’s stellar back catalogues. Features songs contributed by Mickey Jupp (‘You’ll Never Get Me Up In One Of Those’), Elvis Costello (‘Girls Talk’), Chuck Berry (‘Let It Rock’ & ‘Promised Land’) and, of course, Nick Lowe - Stiff Records’ songwriter supreme - including a version of his debut solo hit ‘So It Goes’.
Informative booklet with twin liner notes - in English by Will Birch, noted British journalist, broadcaster, author and, expert on the Pub Rock and the ‘Southend Rock’ scene (of which Dr Feelgood were the leading exponents) - and in German by noted journalist and broadcaster Uli Kniep.
Expertly restored and remastered. Superb vision, outstanding sound. The best in the business!
|Repertoire Records 2013||2-CD||22.00 €
|Shadows - Two Classic Albums Plus Bonus EPs And Singles 4CD
||Real Gone Music 2013||2-CD||9.00 €
|Shadows - Very Best Of 3 CD
||Not Now Music 2013||2-CD||9.00 €
|Shanes - 5CD Original Album Serien
||Emi Music 2012||2-CD||29.00 €
|Topi Sorsakoski - Hurmio
remasteroitu uusintapainos (2012) digikansilla.
Vuonna 1985 julkaistu ensimmäinen soololevy kumarsi suurelle esikuvalle, Olavi Virralle. Mukana mm. Täysikuu, Punatukkaiselle tytölleni, sekä Luonnonlapsi. Levyn menestys avasi menestyksekkään yhteistyön Agents-yhtyeen kanssa.
|Emi Finland 2012||2-CD||15.00 €
|VA: - Bluesology 3CD
If you think these three discs will reduce you to a blabbering basket case, or cause your family to remove sharp implements from your reach, then think again. The blues has a reputation for misery that’s scarcely recognised by the people who play it. Take Buddy Guy: ‘Once I was checking to hotel and a couple saw my ring with “Blues” on it. They said, “You play blues. That music is so sad.” I gave them tickets to the show, and they came up afterwards and said, “You didn’t play one sad song.”’
Singer/guitarist Guy contributes ‘First Time I Met The Blues’ to our collection – and he is typical of a generation of bluesmen who left home in the postwar years in search of stardom. When he hit Chicago in 1957, fresh from his native Louisiana, he admits he was ‘as square as a billiard table and just as green’. He was still touring the word over 50 years later, playing his music and declaring, ‘A lot of people have told me the blues is like whiskey – the longer you leave it in the barrel the better it gets!’
BB King acquired his ‘Blues Boy’ name in Beale Street in downtown Memphis, Tennessee – but, like Guy, was an incomer from the country. Mississippi-born King’s seventh RPM release, ‘Three O’Clock Blues’, was the first of many to hit the Billboard R&B listings in 1952, the Lowell Fulson-inspired number staying at Number 1 for over three months. Like Buddy Guy, King found a ready audience in the black workforce that had come to urban centres during wartime and stayed to fuel the growing US economy.
When it comes to legendary figures, the blues has a surfeit. But they don’t come any more legendary – or mysterious – than Robert Johnson. The tale that he had ‘sold his soul’ to the devil at an unidentified crossroads in exchange for exceptional musical gifts came about after a spell away from his plantation home. Johnson allegedly returned with an impressive technique, much to the astonishment of his fellow musicians. The legend would be rubber-stamped when he was poisoned in Greenwood, Mississippi in 1938 while playing a dance. The devil’s due? It certainly seemed so to his contemporaries.
Elmore James was a disciple of Robert Johnson In both his guitar-playing and his repertoire. Both were born in Mississippi a handful of years apart – but while Johnson cut his historic sessions in 1936-37, Elmore didn’t record until 1951, when he laid down the first of many versions of ‘Dust My Broom’. His distinctive slide-guitar style, heard here on that very number, would be influential on the likes of Fleetwood Mac.
The blues can often be one man and a guitar – but whether it’s electric or acoustic may tell you a lot about the person playing it. The country blues that had proliferated in the immediate postwar years had to plug in when its performers hit the bustling bars and clubs of the city. They simply had to amplify themselves to be heard.
Not that you have to own a guitar to play the blues. Little Walter Jacobs, Sonny Boy Williamson and Junior Wells are harmonica-players who kept their backing band in their pocket and could blow up a storm by means of that uniquely emotional instrument.
Blues artists were often ripped off and went unrewarded for their recorded effort, by accident or design. As guitarist Otis Rush, who came to fame in the late Fifties on Chicago’s short-lived Cobra label, said, ‘A guy will promise you the world and give you nothin’ – and that’s the blues.’ He wasn’t the only one to suffer at the hands and ethics of the music business.
Paradoxically, if and when blues stars finally ‘made it’, it often became more difficult for them to play with passion. ‘There’s no way in the world I can feel the same blues the way I used to,’ bemoaned the late, great Muddy Waters. ‘When I play in Chicago, I’m playing up-to-date, not the blues I was born with. People should hear the pure blues – the blues we used to have when we had no money.’
John Lee Hooker had to wait until he was in his seventies before he enjoyed real rewards for his labours. His 1989 album ‘The Healer’, featuring guests such as Bonnie Raitt, Carlos Santana, Los Lobos and Canned Heat, went on to top 1.5 million sales worldwide. Accolades came thick and fast. In 1991 he won a coveted WC Handy award and was inducted into the newly established Rock and Roll Hall of Fame, while in 1992 a remake of ‘Boom Boom’ (a vintage version of which is included here) made him the oldest person ever to reach the UK Top 5. A Grammy Lifetime Achivement Award and a star on the Hollywood Walk of Fame also followed.
Let’s leave the last word to Hooker, who died in 2001 at the age of 83. ‘The blues tells a story,’ he said. ‘Every line of the blues has a meaning.’ The 75 stories these songs tell make fascinating listening: enjoy three hours plus of Bluesology…
|Not Now Music 2013||2-CD||9.00 €
|VA: - Chiswick Story
||Ace Records 2013||2-CD||18.00 €
|VA: - Come And Get It - the Herald Records Story 3CD
||One Day Music 2013||2-CD||10.00 €
|VA: - Eteenpäin! Suomi-Jazz 1960-1975 3CD
Nimimerkki Pessimisti kirjoitti Rytmi-lehden numerossa 6/1960 synkästi: "Minne menet Suomen jazz? Tällä hetkellä vastaus näyttää olevan tuhoisan yksinkertainen: Kuolemaan. Suomessa jazz on henkihieverissään."
Nimimerkin ennustus ei onneksi toteutunut. Päinvastoin, sillä 1960-luku merkitsi suurta muutosta suomalaisessa jazzissa. Ripeä kehitys jatkui 1970-luvulla, jolloin suomalainen jazz vakiinnutti asemansa musiikin kentässä kansainvälisestikin.
|Artie Music 2013||2-CD||30.00 €
|VA: - Forgotten 45's 1960-1962 3CD
The Forgotten 45s 1960-1962 follows hot on the heels of The Forgotten 45s 1957-1959, Fantastic Voyage’s previous survey of The Ones That Got Away, which has already proved a bigger-seller and been the subject of an enthusiastic review in The Daily Mirror.
Not every record that’s released can be a hit. Not every record that’s released deserves to be a hit, but frequently records that do aren’t and that’s what this set is all about. Three CDs, packed full of great records that should have been hits, but weren’t. Reflecting the musical preferences of the era, the featured styles run the gamut of R&B, doo wop, soul, rock & roll, country, and mainstream pop. Some of the tracks will never have been on legitimately released CDs before; all will give listening pleasure to collectors and pop music fans alike.
Artists, labels and other pundits could reasonably have expected these recording to be UK hit singles, but they were denied that success. The reason may be apparent with hindsight: the timely release of a rival version, or the listening public starting to fall out of love with the artist, or their style of music. But other misses are harder to fathom, and of course it is this unpredictability that goes a long way to explain our fascination with hit records.
Some of the featured tracks have become favourite oldies despite never making our charts (“Sticks And Stones”, “Last Night”, “Hello Walls”, “Pledging My Love”), some are wannabe hits by name artists whose chart pedigree is not in doubt (Pat Boone, Alma Cogan, Jackie Wilson, Bobby Darin, Craig Douglas, the Platters) and some were “new kids on the block” from both sides of the Atlantic, whose releases should have done so much better.
A fascinating parallel narrative when considered alongside hits-of-the-year compilations, like Fantastic Voyage’s exhaustive British Hit Parade series, The Forgotten 45s 1960-1962, and its companion set The Forgotten 45s 1957-1959, give collectors the chance to fill those holes in their archives which they’ve always meant to fill, but haven’t, and will give impulse CD buyers a thrilling reminder of records that passed consumers by in the heyday of pop music.
|Fantastic Voyage 2013||2-CD||17.00 €
|VA: - I Pity The Fool - The Duke Records Story 3CD
||One Day Music 2013||2-CD||10.00 €
|VA: - I'll Go Crazy - The Federal Records Story 2CD
||One Day Music 2013||2-CD||9.00 €
|VA: - It's Saturday Night! 3CD Starday Dixie Rockabilly 1955-1961
It’s Saturday Night!, an exciting collection of rockabilly recordings from the same label. Starday Records was launched in Beaumont, Texas, in the early 1950s, with perfect timing to catch the first wave of the rockabilly tsunami that would sweep the Southern states of America between 1954 and 1958…and the Texas teenagers with their distinctive cat music were just as ready to rock as those being captured by Sam Phillips at Sun Records in Tennessee.
A cult label for rockabilly collectors worldwide – if not the holy grail of all rockabilly record labels – Starday embraced the new teenage music enthusiastically, introducing the likes of Sonny Fisher and Sleepy LaBeef, as well as revitalising the careers of veterans such as Link Davis, Bill Mack and Leon Payne. In addition, household-names-in-waiting such as George Jones, Big Bopper and Link Wray would also cut their teeth with the little Texas label.
Following the 1970s rockabilly revival, even more of these artists were to become internationally famous with their renown being directly attributable to their time with Starday/Dixie; Fisher, LaBeef, Rudy Grayzell, Glenn Barber and Joe Poovey, all enjoyed extended musical careers courtesy of their insatiable European fans, while those that were unable to tour became absent heroes whose 1950s recordings could still fill dance floors decades after they were laid down.
It’s Saturday Night!: Starday – Dixie Rockabilly 1955-1961 presents over one hundred examples of these enduring sounds; arguably the most exciting rockabilly tracks you will ever hear and, certainly, the most impressive set of tracks recorded by any Southern indie label except legendary Sun Records (and there are many record collectors who would argue that that statement is still four words too long!)
|Fantastic Voyage 2012||2-CD||17.00 €
|VA: - Jamaica Selects Jump Blues Strictly For You 3CD
Fantastic Voyage takes another dip into the bubbling cauldron of R&B which sewed the seeds for ska on Jamaica’s sound systems in the 1940s and 50s, lashing together 85 sizzling biscuits from that formative, feet-finding era.It’s well established that the US R&B which started bombarding the island through radio after World War II was picked up by sound systems such as Clement ‘Coxsone’ Dodd and Prince Buster, germinating into ska after mating with the Caribbean’s own calypso and other local musical strains.
The records being produced in America’s Southern states and cities like New Orleans were loosely termed ‘shuffle blues’; contagious, jumping and bulging with animated incitements to party, dance or get down and dirty, many boasting some of the most caterwaulingly volcanic saxophone solos known to man.The tracks presented on Jamaica Selects Jump Blues Strictly For You straddle the shuffle blues panorama over three CDs (many making their debut in this format). The first disc’s The Roots Of Shuffle Blues (1944-1951) takes off like a rocket with names including post-war godfather Louis Jordan, Joe Liggins and his Honeydrippers, Roy Milton, Sherman Williams, Dave Bartholomew, Lowell Fulson, Jimmy Liggins, Amos Millburn, Roy Brown and T-Bone Walker.
CD2’s The Golden Years Of Shuffle Blues (1951-1954) is emblazoned with the likes of Oscar McLollie, Chuck Higgins, Rosco Gordon, Fats Domino, Ruth Brown, Jack Dupree, Chuck Willis, Guitar Slim, the Charms, Marvin & Johnny, Tommy Ridgley, Earl Curry, Floyd Dixon, the Rocking Brothers and, of course, Louis Jordan. By CD3’s The Big Three Take Over (1955-1960) the rhythm firing on the upbeat over walking bass is blueprinting the ska spring with names such as Nappy Brown, Plas Johnson, the Penguins, Mello-Harps, Big Joe Turner, Shirley & Lee, Vince Monroe, Smiley Lewis, Lloyd Price, Ivory Joe Hunter, Professor Longhair, Clyde McPhatter, Johnny Otis, Earl Hooker, Ernie Freeman and Hal Paige & The Wailers.These discs should come with a warning: lethal rocking and leaping skank blueprints running amok, beautifully presented with knowledgeable, fact-packed annotation.
|Fantastic Voyage 2012||2-CD||18.00 €
|VA: - Joe Meek Telstar: Anthology 3CD
In 2005, the story of maverick producer Joe Meek hit the West End stage as Telstar, and a film of the same name premiered in 2009. All this helped introduce a new generation to the sounds that came out of his studio half a century ago at 304 Holloway Road, north London in an era when Britain lagged a long way behind the States in cutting-edge recording.
‘Telstar’, credited to house band the Tornados and named after a just-launched communications satellite, changed all that. By making Number 1 on both sides of the Atlantic in December 1962 – the first and only record by a pre-Beatles UK group to top the Billboard chart – it put the UK, and Joe Meek in particular, on the map. Sadly, the royalties would be delayed by a court case alleging plagiarism launched by a French composer. This would be settled in Meek’s favour in February 1967, three weeks after his death.
Meek created musical magic in his home studio above a shop. Some of the futuristic sounds he was responsible for would not have sounded out of place in the synthesiser-dominated Eighties, and he was undoubtedly years ahead of his time.
He’d served in the Royal Air Force as a radar technician after World War II, then worked as a television engineer before getting a job at IBC, one of only two recording studios in London not attached to a record label. He moved to the other independent studio, Lansdowne, in 1957, working on some of Lonnie Donegan’s skiffle hits.
All this, plus a growing interest in songwriting, set him up nicely to go it alone, which he did in 1960. His first hit, ‘Angela Jones’, by singer Michael Cox, came out on his own Triumph imprint, but he soon decided to concentrate on creating music and leave the marketing to labels he licensed his productions to.
The following year would see him top the UK charts thanks to John Leyton and ‘Johnny Remember Me’. The combination of the singing actor and a song written by young hopeful Geoff Goddard proved irresistible, the arrangement by another young talent Charles Blackwell featuring strings and choir – all recorded in the living room, bathroom and toilet of Meek’s three-floor flat!
The bands and artists Meek produced varied widely. The Fabulous Flee Rekkers were Britain’s answer to Johnny and the Hurricanes and were led by tenor saxophonist Peter Fleerakkers. Their best-known member was drummer Mickey Waller, who went on to back Rod Stewart after the group broke up in 1963. The Outlaws featured future Deep Purple guitarist Ritchie Blackmore and Chas & Dave’s Chas Hodges, and were used as a backing band; they also feature here in their own right.
Meek’s willingness to experiment was unique in the days before stereo had become the industry standard. The opportunity for experimentation was limited, as it could ruin recordings, but Meek was willing to use devices like limiters and compressors to create a sound all his own. Many of his artists showed longevity, a tribute to his talent-spotting abilities. Mike Berry’s ‘Tribute To Buddy Holly’, included here, was the first of five Top 40 hits in a sequence extending from 1961 to 1980.
Others featured here had their highpoints to come. Cliff Bennett & the Rebel Rousers would hit later in the Sixties with a cover of the Beatles’ ‘Got To Get You Into My Life’, while shock-rocker Screaming Lord Sutch – a UK version of Screamin’ Jay Hawkins – went from rock to politics. Birmingham-born musicians Ken Lewis and John Carter, featured here fronting Carter-Lewis and the Southerners, would go on to find success with third singer Perry Ford as the Ivy League.
The final triumph for Joe Meek came in 1964 when the Honeycombs’ stomping ‘Have I The Right’, released on Pye, gave him another Number 1. But that year also saw him fall out with Geoff Goddard, while his private life, at a time when homosexuality was illegal, was difficult to say the least. He ended his own life in February 1967 by shooting himself in his studio, a tortured genius to the end.
Even though he could not play a conventional instrument, Joe Meek gave much to popular music. His ratio of hits to releases, 45 from 245, stands up to anyone’s in any era, but the fact that he was a maverick operating outside the system makes it even more impressive. He created an early concept album called ‘I Hear A New World’ that was well ahead of its time, although it would remain unreleased for some years. The tracks here credited to the Blue Men are from this project.
Some say that, had he lived, Meek would have continued to innovate. ‘Joe would have been in his element with a multi-track machine,’ said Outlaw Chas Hodges, who described the Beatles’ recordings as sounding like ‘rough demos’ when compared with Meek’s creations. Use your own ears and tune in to ‘Telstar’ and much, much more…you just might agree!
|Not Now Music 2013||2-CD||9.00 €
|VA: - Just For A Day - The Apollo Records Story 3CD
Apollo Records came from humble beginnings but, through the hard work and dedication of its founders, it became an influential record label in America during the Forties and Fifties. New York-based Apollo went toe-to-toe with larger labels in the era to break artists across numerous genres, most notably doo-wop, gospel and blues, in its near-two decade existence.
Born in the Rainbow Record Shop in downtown Harlem, near the theatre whose name it would share, Apollo Records was founded by husband-and-wife duo Isaac and Bess Berman, along with colleagues Hy Siegel and Sam Schneider. It was Bess who drove the label from the off, taking responsibility for the day-to-day running of Apollo despite Siegel’s initial role of President.
The label’s location amid arguably the country’s most vibrant music scene meant it unearthed gems from the off – and none was more precious than Dinah Washington. The woman who would become known as ‘Queen of the Juke Boxes’ cut a number of tracks for Apollo during its earliest years.
Among the numbers recorded by the 21-year old were ‘Mellow Mama Blues’ (disc one), ‘My Voot Is Really Vout’ (disc three) and ‘Pacific Coast Blues’ (disc two). Even on her maiden studio outing, the young Washington displayed a talent and a soulfulness that belied her age. She would soon be snapped up by the larger Mercury Records and became one of the most influential artists of her time.
Another future superstar to cut their teeth for Apollo was Wynonie Harris, an R&B powerhouse and founding figure of rock ‘n’ roll. Having travelled the United States in a bid to establish himself, Harris turned up at – of all places – the Apollo Theatre in Harlem in the mid Forties. Among the tracks Harris recorded for the label were ‘I Gotta Lyin' Woman’, ‘Young And Wild’ and ‘She's Gone With The Wind’; all three can be found on this collection. The musicians’ strike of 1942-44 postponed Harris’ success, and he went on to enjoy a string of R&B chart-topping hits on both the Decca and King labels.
Artists had to make their name through live performance and public appearances if they wanted to get noticed. Such was the tactic of 35-year old Mahalia Jackson, who arrived at Apollo in 1946.
Jackson wasted no time in justifying the lofty moniker of ‘Queen of Gospel’, bestowed upon her as she played the circuit. In 1948 she recorded and released ‘Move On Up A Little Higher’, which sold eight million. Apollo struggled to meet demand and Bess Berman soon deposed Siegel as head of the label. Jackson would stay at Apollo for nearly a decade, recording tracks such as ‘She Said It Would’ (disc three) and ‘Nobody Knows The Trouble I’ve Seen’ (disc one) before departing for Columbia in 1954 and going on to win four Grammy awards.
But it wasn’t just solo stars that made it on Apollo. Bess Berman showed she was adept at spotting collective talent when she renamed gospel vocal group the Selah Jubilee Singers the Larks in 1950. They went on to bag a number of Top 10 R&B hits, including ‘Little Side Car’ (disc three) in ’51. Buoyed by this success, Berman took another gospel group, the Royal Sons Quintet, and rechristened them the Five Royales. They would enjoy even greater success, most notably with ‘Dedicated To The One I Love’, a track that would go on to hit for both the Shirelles and the Mamas and the Papas in the Sixties.
While the name of the game was commercial success, characters like ‘Champion’ Jack Dupree gave Apollo a large helping of credibility. A gritty and authentic musician who loved his trade, the veteran New Orleans-born singer-pianist was renowned for his witty lyricism and gritty tone. He cut about a dozen country-blues tracks for Apollo, including ‘Deacon’s Party’, ‘Old Woman Blues’ (both disc one) and ‘Come Back Baby’ (disc three), but would achieve greater success on Atlantic.
With a mixture of cult, critical and commercial success, Apollo maintained a respectable output across the Forties and Fifties. But the early Sixties were blighted by Bess’ ill health and copyright lawsuits pertaining to Apollo’s crediting of Mahalia Jackson recordings. It was ultimately, however, the departure of artists like Jackson, the Five Royales and Wynonie Harris to other labels that proved too much for Apollo, which shut its doors in 1962.
But Bess Berman could look back on her work in that period and be proud, not least of the achievement of becoming the first woman to head a record label in a male-dominated era. More than that, this three-disc selection, with its assortment of artists and musical genres, illustrates the strength of the label’s catalogue in all its glory.
|One Day Music 2014||2-CD||9.00 €
|VA: - Love And Fury - Gems From The Decca Vaults UK 3CD
||One Day Music 2013||2-CD||10.00 €
|VA: - Midnight Special - The Oriole Records Story 2CD
Oriole Records was the first British record label. It was founded in 1925 by the Levy family, who built up their business from an east London record shop, and had its own distribution system, recording studio and pressing facilities. It enjoyed a fruitful first decade of operation but lay dormant until 1950, when Morris Levy revived it. It started its rebirth by licensing from the American Mercury Records label, before turning to British acts.
Early hitmakers included the Chas McDevitt Skiffle Group with the Number 5 ‘Freight Train’, featuring Nancy Whiskey on vocals, and Liverpool-born former Butlins Redcoat Russ Hamilton’s ‘We Will Make Love’, which reached Number 2 in the UK singles chart in 1957. Oriole also produced cover versions of chart hits, released on the budget Embassy Records label through Woolworths stores.
The stakes rose considerably when John Schroeder joined in December 1961. His brief was to develop Oriole, the only independent record company at the time, into a rival for major labels like EMI, whence he had come after carving a reputation as Cliff Richard producer Norrie Paramor’s songwriting sidekick. It was, he admitted, ‘Quite a daunting proposition.’
His first hits came with singer Clinton Ford, who mixed country with comedy, followed by Maureen Evans. Her ‘Like I Do’ made Number 3, sold a quarter of a million records and inspired Paramor to send Schroeder a personal note saying: Congratulations on “Like I Do”. Please leave some space in the charts for me!’
The Spotniks, an instrumental group from Sweden, introduced themselves to Oriole when their manager heard the label’s sponsored show on Radio Luxembourg. They made the Top 30 with ‘Orange Blossom Special’, promoted by an appearance in space suits on BBC-TV’s Top Of The Pops (this was in the era of the space race between America and the Soviet Union). They would follow up with an equally unlikely cover, ‘Hava Nagila’; this did even better, but the gimmick inevitably faded.
Other signings of note included Susan Singer (Helen Shapiro’s cousin) and the Dowlands, a duo produced by maverick Joe Meek in an independent deal. Jackie Trent was another discovery, a talented singer-songwriter who would eventually team personally and professionally with Tony Hatch.
Among the people who approached Oriole but didn’t make it were Jonathan King, a chart-topper a few short years later with “Everyone’s Gone To The Moon’, and Galt McDermott, Canadian composer of the hit Sixties musical Hair.
Oriole and Schroeder’s place in the history books was assured when they became the first record label to bring Motown to Britain. Schroeder took label boss Berry Gordy and vice president Barney Ales to dinner at the Talk of the Town nightclub to seal the deal. He had something in common with Gordy in that they were both successful songwriters, Schroeder having penned Helen Shapiro’s first hits.
‘I knew we had a mammoth task ahead of us,’ Schroeder later explained, ‘but I also knew the sheer talent featured on this label could not help but eventually register. It was only a matter of time.’ Oriole released nineteen Motown discs in total on their black and white Oriole American label, but were stymied by the lack of domestic airplay for the music.
Schroeder had the courage to begin the operation with three singles released simultaneously in September 1962 – Mary Wells’ ‘You Beat Me To The Punch’, The Contours’ ‘Do You Love Me’ and the Marvelettes’ ‘Beechwood 4-5789’, all featured here. For two years he and his team worked on Motown’s music. But no sooner had they tasted real success with Stevie Wonder’s ‘Fingertips Part 2’, than the licensing contract expired and Motown moved on to EMI Records.
John Schroeder’s next move, in July 1963, was to thrust Oriole into the thick of domestic pop by taking a mobile recording unit to Liverpool and recording two albums of local talent entitled ‘This Is Mersey Beat Vol 1 and 2’. Many bands got their first break this way, but while Schroeder met both John Lennon and Beatles manager Brian Epstein he was inevitably beaten to the biggest names by his wealthier rivals.
Oriole ceased to exist in 1964 when American recording giant Columbia bought the company and renamed it CBS Records. The attraction was Oriole’s record pressing factory in Aston Clinton Buckinghamshire. John Schroeder had, by then, moved on to Pye Records where he would produce Status Quo and Man, among many others. He has written about his Oriole years in a book, Sex & Violins (Pen Press), which is much recommended.
Oriole worked hard to compete with the ‘big boys’, but ultimately the stakes were too high for a family firm. The music they brought to the market was, however, fascinating, and still has the capacity to entertain half a century later.
|One Day Music 2013||2-CD||8.00 €
|VA: - Super Rare Rockabilly 3CD
Any musical genre has its first division stars who take the limelight, eclipsing their colleagues who may be no less
deserving of acclaim. This is especially true of rockabilly. Elvis Presley, Carl Perkins and Johnny Cash may be
the names everyone has heard of but there are a host of others, such as the artists featured here, who have
disappeared into the mists of time, leaving only a handful of tracks as testimony to the enduring vitality of their music.
|One Day Music 2014||2-CD||10.00 €
|VA: - Swampbilly Shindig 2CD
Swampabilly Shindig leaps deep into the bayous and plantations of the Deep South. Here, although racial segregation remained law, black and white music mixed with country and rockabilly taking beautiful shape as the hillbilly cats learnt from their blues playing and gospel singing neighbours. Gathered here are 50 tunes with Southern roots from artists as legendary (and as different) as The Staple Singers, Elmore James and Jerry Lee Lewis.
|Union Square Music 2013||2-CD||10.00 €
|VA: - The Forgotten 45s - 1957-1959 3CD
||Fantastic Voyage 2013||2-CD||17.00 €
|VA: - The Girl Can't Help It 3CD
Deluxe Expanded Edition. Over 100 tracks by the musical stars of "The Girl Can't Help It". Including songs from the many other rock'n'roll movies of the era. And much more.
The Greatest Rock ’n’ Roll Film Of The 1950s – The Girl Can’t Help It brought rock ’n’ roll to groin-swivelling life in living colour, defining a new cultural revolution to focus a generation, providing a mutual relationship launch-pad for the likes of Lennon and McCartney, while setting a genre precedent which was never topped.
Part of a deluge of musical exploitation films released for the Christmas 1956 market, in the wake of the success of Rock Around The Clock earlier that year, The Girl Can’t Help It was distinct from most of its hastily-conceived rivals by being shot in glorious colour, and having both a witty script and thoughtfully integrated musical performances. Initially created by Looney Tunes/action movie veteran Frank Tashlin as a vehicle for new-blonde-on-the-block Jayne Mansfield, the film sparked worldwide teenage rampage when it first appeared in 1956, giving many their first taste of the uncaged phenomenon of rock ’n’ roll as the music’s hottest names strutted and wailed through what would become their signature songs, including Little Richard, Eddie Cochran, Gene Vincent and Fats Domino.
To celebrate the movie, music and all-star cast, Fantastic Voyage swing doctor Dave Penny has forged a colossal three-CD set based around the original soundtrack, kicking off with Little Richard’s three songs from the film (‘Ready Teddy’, ‘She’s Got It’ and dam-busting rock chick anthem title track), then another dozen affirmations of the pompadoured Georgia Peach’s unbridled gospel-charged piano-humping mayhem.
Disc One also features screaming sax honker Nino Tempo on both the film’s ‘Tempo’s Tempo’ and eight more tracks from its mothership album, Rock ’N’ Roll Beach Party (including the immortal ‘Turkey Gobbler’) plus Texan rocker Johnny Olenn’s ‘I Ain’t Gonna Cry No More’ and ‘My Idea Of Love’ from the film, and more from his Just Rollin’ With Johnny Olenn album.
Disc Two spotlights Gene Vincent, his ‘Be-Bop-A-Lula’ from the film, plus another seven tracks, including 1958’s ‘Git It’ (as later covered by Dave Edmunds) and four which appeared in the lesser-known Hot Rod Gang flick. Also here are Julie London (cheesecake chanteuse missus of the film’s soundtrack supplier Bobby Troup), rocker Eddie Fontaine, the Three Chuckles, Teddy Randazzo (with the now rather sinister-sounding ‘Be My Kitten Little Chicken’) and the great Abbey Lincoln injecting gospel passion with ‘Spread The Word’ (shortly before becoming one of the world’s leading firebrand jazz singers as wife of drummer Max Roach).
Larger-than-life Fats Domino looms over Disc Three with his ‘Blue Monday’ from the film joined by other celluloid sorties, including ‘Ain’t It A Shame’ and two others from Shake Rattle And Rock, plus others including showings in The Big Beat and Jamboree. He’s joined by the Treniers, built around twin brothers Cliff and Claude, whose ‘Rockin’ Is Our Bizness’ appeared in The Girl Can’t Help It, joined here by their showings in Don’t Knock The Rock, Teen Age Rebel, Jukebox Rhythm and Calypso Heat Wave. The Platters demonstrate why the rock ’n’ roll movie genre was so essential to their career, ‘You’ll Never Know’ from The Girl Can’t Help It joined by items they contributed to Rock Around The Clock, Rock All Night, Carnival Rock and Girls Town. The set is completed by trumpet-titan Ray Anthony and a hidden track of Jayne Mansfield herself with her own ‘Just Plain Jayne’, completing a collection which explodes with all the energy, attitude and underlying musical flair which now sound like the perfect case for an axis-shifting revolution. The only missing ingredient is Elvis, offered the main male lead but scuppered by the Colonel’s financial demands. He didn’t do too bad but neither did the movie and stellar cast assembled on this brilliantly-executed manifesto for the movement it inspired.
|Fantastic Voyage 2012||2-CD||18.00 €
|Ventures - 4 Original Albums 3CD
4 orginaali albumia stereo ja mono versiona pakattuna kolmen CD:n boxiin. Bonuksena kolme varhaista vokaaliraitaa poimittuna bändin sinkuilta.
|IMC Music 2012||2-CD||15.00 €
|Ventures - Eight Classic Albums 4CD
4CDs = 104 tracks
|Real Gone Music 2012||2-CD||9.00 €
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