Result of your query: 566 products
|Sheb Wooley - White Lightnin'
||Bear Family 2012||CD||18.00 €
|Shirelles - Tonight's The Night
||Rumble Records 2012||LP||18.00 €
|Shirley Bassey - As I Love You 2CD
The Iconic Dame Shirley Bassey, DBE, is probably the most famous female singer to have emerged from the UK.
This unique 2-CD set anthologises her earliest recordings for the UK Philips label between 1956 - 58 and features her first UK No. 1 'As I Love You'. Other hits included are 'The Banana Boat Song', 'Fire Down Below', 'You, You Romeo' and 'Kiss Me, Honey Honey Kiss Me'.
Also available here are a pair of real collectors rarities, via her controversial live EP 'Live At The Café De Paris' and her debut LP 'Born To Sing The Blues'. These are truly historic recordings, many of which are notoriously hard to find elsewhere on CD.
|Jasmine Records 2009||CD||12.00 €
|Solitaires - Walking Along - The Best Of The Solitaires 2CD
Walking Along - The Best of the Solitaires:
The Solitaires were one of the greatest New York based vocal groups and considering they never had anything like a national or international hit it is remarkable to consider their fame!
This set features the A and B sides of all their singles through to 1960.
Best known for their hit 'Walking Along', this superb set also includes the lushly atmospheric, 'Wonder Why', 'Blue Valentine' and 'I Don't Stand a Ghost of a Chance' plus the hits, 'The Wedding' and 'The Angels Sang'.
Fully detailed liner notes covering the groups entire career.
|Jasmine Records 2011||CD||13.00 €
|Solomon Burke - Soul Arrives! 1955-1961
||Jasmine Records 2013||CD||12.00 €
|Sonny James - The Southern Gentleman 2CD
The Southern Gentleman - The First Four Albums - 1957-1959
Sonny James was one of the most popular country stars of all time and had phenomenal success throughout the late '60s with an incredible five year run of number one singles.
The four classic albums of classic, pure country: The Southern Gentleman; Sonny; Honey & The Sonny Side are together for the first time on CD outside of multidisc box sets.
Includes the 1956 million seller, 'Young Love' and the detailed liner notes feature his full biography and career achievements.
|Jasmine Records 2012||CD||15.00 €
|Sophia Loren - Music From The Films Of Sophia Loren Vol. 1
Sophia Loren’s remarkable film career spans almost six decades. Internationally, she is by far the most famous Italian actress. In her, the world has found an enticing, intelligent, quintessentially European woman, who was also warm, earthy and full of good humour.
Sophia is a fine pop singer. Our edition spans the musical output of the dizzying first three years of her career between 1955-58, comprising her early Italian hit singles including ‘Che m'è 'mparato a fa'’ which went to No 1 early in 1957 along with songs and instrumental selections from her earliest international films; Houseboat (George Duning), Boy On A Dolphin (Hugo Friedhofer), The Pride and the Passion (Georges Antheil), Desire Under the Elms (Elmer Bernstein) and The Key (Malcolm Arnold).
|El Records 2009||CD||18.00 €
|Spaniels - Goodnight, Sweetheart 1953-1961 2CD
Goodnight, Sweetheart 1953-1961 - Their Two Original Albums Plus Both Sides of Their Singles and More
This is the most complete Spaniels package yet! For the first time their complete A and B sides of all their Vee-Jay Singles plus both of their original album releases are all featured on this great 2CD set.
Includes the classics: 'Baby It's You' and 'Goodnight, Sweetheart, Goodnight' as featured on numerous TV commercials and in movies.
Fully detailed liner notes cover the entire career of this fantastic group. This is yet another superb R&B release for Jasmine that adds to the ever growing collection of early R&B groups and artists!
|Jasmine Records 2012||CD||13.00 €
|Sun Ra And His Arkestra - Interplanetary Melodies
||Norton Records 2009||CD||17.00 €
|Sun Ra And His Arkestra - The Second Stop Is Jupiter
||Norton Records 2009||CD||17.00 €
|Sunny Gale - The Great Hit Sounds Of... Wheel Of Fortune 2CD
Often called 'The Wheel of Fortune Girl', Sunny Gale was the first to bring this enormous hit song to the world.
Hit songs include, in addition to the above: 'Smile'; 'Goodnight, Sweetheart, Goodnight'; 'Teardrops on My Pillow'; 'Try a Little Prayer'; 'Let Me Go, Lover!'; 'A Certain Smile'; 'My Foolish Heart'; 'Rock and Roll Wedding'; 'Soldier Boy'.
Great conductors are featured: Hugo Winterhalter, Ralph Burns, Jack Pleis, Joe Reisman and Henri Jerome.
This is, by far, the most comprehensive collection by one of America's favourite songbirds.
|Jasmine Records 2012||CD||15.00 €
|Teenagers - Featuring Frankie Lymon
||Rumble Records 2011||LP||18.00 €
|Tennessee Ernie Ford - 6000 Sunset Boulevard
Years before bottomless baritone Tennessee Ernie Ford delivered his signature 1955 smash “Sixteen Tons” he was already hard at work on laying the tracks for the coming country-pop crossover waves—tracks that would later be
traveled by Johnny Cash, Patsy Cline, Dolly Parton, Willie Nelson, and other immortals. Part of this joyous trailblazing involved Ford’s syndicated The Tennessee Ernie Ford
Show radio program, which found him backed by the Billy Liebert Band, a stellar outfit that included pedal steel man extraordinaire Speedy West, singer-guitarist Billy Strange,
and bassist-trombonist George Bruns. With Ford crooning away out front, the band madly romped through not only country and western swing material but also jazz, pop, and classics of the Great American Songbook.
Mastered directly from the show’s 1953 aircheck transcriptions, the gorgeous-sounding 6000 Sunset Boulevard
features swinging renditions of gems like “I’m Gonna Sit Right Down (And Write Myself a Letter),” “Paper Doll,” and “Up a Lazy River”; revealing between-song studio banter
and announcements; and exhaustive liner notes by country music authority Rich Kienzle
|Sundazed Music 2009||CD||18.00 €
|The Flamingos / The Dubs - The Flamingos Meet The Dubs
Priceless Collection -sarjaa
|Collectables 2009||CD||10.00 €
|Tito Puente - El Ray - A Man And His Music 2CD
||Codigo Music 2010||CD||22.00 €
|Tommy Collins - Black Cat - Gonna Shake This Shack Tonight
1-CD DigiPac (4-plated) with 36-page booklet, 30 tracks. Playing time approx. 73 mns. - An underground legend celebrated by Buck Owens, who recorded a whole album of Tommy Collins' songs, and Merle Haggard, who wrote and recorded a tribute song 'Leonard'. One of the pioneers of the honky tonk sound of Bakersfield! There are no other Tommy Collins CDs available, except for Bear Family's exhaustive box set! Includes the incredible rare first single 'Campus Boogie', plus uptempo hillbilly boogies and honky tonk classics! - Tommy Collins helped to establish the Bakersfield Sound. Legions of West Coast country performers and current roots/alternative country stars have built on the sound, making it one of the cornerstones of American music. Collins scored several hits as a performer, including 'You Better Not Do That' in 1954. Just as Collins' career was taking off, he had a religious conversion. For several years, little was heard from him. He returned to music, and signed with Columbia in 1965. The following year, had a Top 10 hit with 'I Can't Bite, Don't Growl'. For the next few years, he had a string of hit singles. - By the early '70s, Collins' professional and personal life was on the verge of collapse, due to his increasing dependency on drugs and alcohol. He recovered by writing songs, many of them recorded by Merle Haggard, including the '70s hits 'Carolyn' and 'The Roots Of My Raising'. In 1981, Merle Haggard had a hit single with 'Leonard', his tribute to Collins. After the release of 'Leonard', the spotlight again turned to Collins, who was now sober. Tommy resumed professional songwriting and his most notable success was Mel Tillis' Top 10 1984 hit, 'New Patches'.
|Bear Family 2011||CD||17.00 €
|Tommy Edwards - It's All In The Game - The MGM Recordings 2CD
Tommy Edwards shot to fame in 1958 with his ‘beat ballad’ update of the old standard It’s All In The Game, which topped the U.S. Billboard Hot 100, the R&B chart and the UK singles chart, selling 3.5 million copies worldwide.
It made a star out of the singer/songwriter from Richmond, Virginia, who was then 36 years old. Edwards had first recorded the song for MGM in 1951 but this remake for the rock’n’roll era transformed his career.
Edwards first made an impact as an R&B artist as early as 1946 when he penned ‘That Chick’s Too Young To Fry’ for Louis Jordan. Subsequently, his songs were recorded by Elvis Presley, Cliff Richard, the Four Tops and even Donny & Marie Osmond.
Tommy sadly passed away at the tender age of 47 but 15 October is now ‘Tommy Edwards Day’ in his home town as a mark of respect.
This 2-CD set offers four albums and several singles A’s and B’s from Tommy Edwards’ ‘purple patch’ with MGM, following the global success of It’s All In The Game.
All are taken from the original master tapes in the US MGM vaults, resulting in the majority of the tracks being presented in true stereo and have been re-mastered. Accompanied by a fully illustrated and annotated colour booklet.
The package includes his subsequent US hits: Please Love Me Forever (#61), Love Is All We Need (#15), remakes of two more of his earlier hits – Please, Mr. Sun (#11), The Morning Side Of The Mountain (#27) – Mr Melancholy Baby (#26), It’s Only The Good Times (#86), I’ve Been There (#53), I Looked At Heaven (#100), (New In) The Ways Of Love (#47), Honestly And Truly (#65), Don’t Fence Me In (#45), I Really Don’t Want To Know (#18) and It’s Not The End Of Everything (#78).
|Shout Records 2012||CD||18.00 €
|Tommy Edwards - The Hits And More 2CD
Tommy Edwards was a vocalist, pianist and composer who made an impact in early R&B circles.
Features all 21 of his chart hits including, 'Please Mr Sun', 'My Melancholy Baby' and his biggest hit 'It's All in the Game' which became an R&B and pop staple. His version of, 'A Fool Such As I' went on to be recorded by Elvis Presley for whom it sold millions.
Although Tommy died in 1969, his material hasn't been readily available but the 53 tracks here stand out and show what a great vocalist he was.
This is a fine mixture of standards and hits from one of R&B's early stars.
|Jasmine Records 2012||CD||13.00 €
|Tommy Steele - Come On, Let's Go - The Very Best Of 3CD
This 3CD set featuring 17 UK Top 40 Hits. 68 tracks
|Spectrum Music 2010||CD-Box||18.00 €
|Toni Sailer - Der Schwarze Blitz
||Bear Family 2010||CD||18.00 €
|Trini Lopez - Sinner Not A Saint - The Complete King And Dra Recordings
Trini Lopez seemed to come out of nowhere in late 1963, when his simple, sing-along live version of ‘If I Had A Hammer’ captured the imagination of the world and catapulted him to global fame. Few people who bought the single or its attendant “Live At PJ’s” album were aware that this great new star had in fact recorded almost a dozen 45s before he finally hit the jackpot. Working from his native Dallas, Texas, Trini had been beavering away since the mid-50s, and had come close to a national hit with his second King 45, ‘Rock On’, but that and other singles for King, DRA and Volk had fallen by the wayside.
When ‘If I Had A Hammer’ hit, many of these early tracks were reissued – often several times over, and with extraneous fake live overdubs – on singles and budget albums that attempted to cash-in on its massive successs. That was almost 50 years ago. Most have now been out of print for several decades, during which time several have become considerably more collectable than anything Trini cut while at the height of his popularity.
For the first time on CD, “Sinner Not A Saint” collects up almost every master Trini recorded in his pre-fame years. These are not Trini’s greatest hits, but they show that his talent was never in question – all he required to hit was the right song at the right time.
‘The Search Goes On’, ‘Nobody Loves Me’ and ‘Sinner Not A Saint’ have found belated fame on the Belgian Popcorn and, latterly, the UK’s New Breed R&B scenes. All appear here straight from the original King and DRA tapes, and none of them feature the overdubs King added to some tracks in an attempt to fool some of the people all of the time. Extensive notes and a plethora of label shots make this a must for Ace and Trini Lopez collectors.
King’s later issues of Trini’s tracks often sub-billed him as The Teenage Idol, and he certainly made a fair fist of trying to be one before his worldwide breakthrough. As befits somebody who was searching for success – and who was prepared to try on all sorts of musical hats until he found one that provided a comfortable fit – there’s a rich diversity of material on “Sinner Not A Saint” that will guarantee its appeal to lovers of late 50s and early 60s rock and teen pop.
By Tony Rounce (Ace Records)
|Ace Records 2011||CD||17.00 €
|Troyce Key - Baby Please Don't Go / Watch Your Mouth
7" single feat Eddie Cochran, Howard Roberts, Ray Johnson, Red Callender, Earl Palmer and The Sharps
|Sleazy Records 2011||Single/EP||6.00 €
|VA. - Greasy Rock'n'Roll Vol. 14
||Blakey Records 2010||LP||14.00 €
|VA. - infamous Instro-Monsters Of Rock'n'Roll Vol. 1
||El Toro Records 2012||CD||17.00 €
|VA. - Postcards From Los Angeles 1958-1964 - The Dore Story
A one-man operation run at street level for more than two decades, Hollywood’s Dore label launched the careers of Phil Spector and Jan & Dean in the late 1950s and built upon these early triumphs with an extensive catalogue of pop, rock and soul 45s during the 60s before branching successfully into comedy in the early 1970s.
The story of Doré records is inextricably linked with that of its owner, Lew Bedell, who entered the music business in 1955 having worked as a minor professional entertainer in the preceding years. Pop music was different back then and never more so than in California, where Hollywood’s dominance of the entertainment scene meant that Los Angeles was scarcely aware of its music industry until hotshot producers such as Phil Spector, Brian Wilson, Snuff Garrett and Lou Adler finally put the town on the recording map in the mid-1960s.
Individualists such as Bedell were usually referred to as “characters” or as being “larger than life”, suggesting they were caricatures of some sort, but Bedell, for all his eccentricities, was somehow too pragmatic a man to fit that description.
Doré began as a subsidiary of Era, a Hollywood label best known for mainstream pop hits such as ‘Chanson D’Amour’ and ‘The Wayward Wind’. Bedell had founded Era with his cousin Herb Newman before breaking away to run Doré alone. In 1958, it got off to a flying start with ‘To Know Him Is To Love Him’ by the Teddy Bears, a worldwide hit, followed a few months later by Jan & Dean’s ‘Baby Talk’. The major labels had lost touch with the street and it was largely left to LA’s scattering of independents to set teenagers’ turntables spinning on the West Coast.
It was the age of the walk-in deal on LA’s so-called record row, an area of Hollywood populated by small labels wheeling and dealing from storefronts or backrooms. Some went in the blink of an eye but Doré stayed, moving seamlessly from rock and pop into soul music in the mid-60s. In this climate of spontaneous deal-making and low recording costs, Bedell was regularly approached by would-be’s and wanna-be’s, some of whom may have had something on the ball. Herb Alpert, Shel Talmy and Mike Curb were just a few who brought their first productions to Doré and there are some interesting connections: aside from Spector and Jan & Dean, the Walker Brothers and Vince Taylor all come into the story.
25 of the 28 tunes on this first volume of “The Doré Story” appear on legitimate CD for the first time, all taken from the original masters, including previously unissued rockabilly from cult figure Joel Scott Hill, two ultra-rare rock instrumentals by Bobby Fry, the guitarist Vince Taylor brought over with him from America in 1958. There’s exquisite doo wop, some featuring that cherished East LA “Barrio” sound, early teen rock from John Maus of the Walker Brothers and a rare instro featuring Scott Walker himself. Doré is becoming a collected label. Many of the original Doré 45s are now beginning to fetch quite big money, helped by the aura of mystique that surrounds the label and its distinctive logo.
The generously proportioned, specially designed package includes a 18,000-word newly researched profile of Doré and Lew Bedell, artist biographies and many never-before seen photographs and illustrations. “The Doré Story” is an engaging snapshot of that moment in time before lawyers and accounts took over the music biz and things were simpler and probably more fun.
By Rob Finnis (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - 1959 British Hit Parade -Greatest Hits Vol. 8 Part 2 4CD
Part 2 of this survey takes us from August to December.
The highly-diverse selection of chart entries for the final five months of the 1950s ranged from rock 'n' roll and rhythm 'n' blues, to party-time sing-along’s and kiddie novelties. 1959 epitomized the era when music publishers worked their copyrights to the point where various versions of a song could be purchased by the record-buying public. In the instance of 'A Teenager in Love', no less than four variations could be found lingering in different corners of the charts.
It wasn't all smooth sailing however, as the record industry found itself blighted by a major print strike in the summer. Not only did the weekly journals such as the Record Mirror, Disc and the Melody Maker disappear from the newsstands, no charts were published during what was an extremely frustrating six-week period. Out on the high street the arrival of the Mini-Minor (selling at less than £500) served to contemporise the cultural landscape. And in the autumn it was even more when the ribbon was cut by the Minister of Transport, Ernest Marples, on the first section of the M1.
Thanks to a string of top-drawer singles, Elvis proved that he was still the King despite being confined to barracks in West Germany. Meanwhile, on the home front, there was strong competition coming from a new breed of British contenders including Cliff Richard, Emile Ford and Adam Faith. The power of the instrumental was steadily being defined by artists such as Duane Eddy, Johnny and the Hurricanes and Sandy Nelson, whilst a more temperate equivalent could be found in the UK via the work of Russ Conway, Joe “Mr Piano” Henderson and Winifred Atwell. Despite a noticeable lack of modernisation within the realms of radio, the upswing of televised pop and music in movies helped make for a smooth transition into the coming decade.
|Fantastic VOyage 2010||2-CD||19.00 €
|VA: - 75 Pumpin' Piano Greats 3CD
||Fantastic Voyage 2009||2-CD||17.00 €
|VA: - A Good Lookin' Blonde
||Pan American||CD||15.00 €
|VA: - A Rocket In My Pocket
My new book is a history of rockabilly, because I’ve loved that music for damn near 40 years. The first album I ever bought, back in 1973, was a compilation with a mixture of rock’n’roll and rockabilly, including tracks by Wanda Jackson, Carl Perkins and Gene Vincent. When Ace Records first came along later that decade, I was blown away by the range and quality of the material they were issuing. Records like Ace’s landmark “Rockabilly Party” 10-inch LP from 1978, with sleevenotes by the great Ray Topping, which contained Hal Harris’ phenomenal unissued ‘Jitterbop Baby’ – purebred rockabilly with an unstoppably infectious groove riding along on top of some of the most perfectly recorded, echo-drenched slap-bass of all time. Over the years there’s been a wealth of class-A rockin’ material released on the label, so I’m genuinely delighted to have been asked to help compile a selection of the wildest rockabilly tracks for this collection, which is issued at the same time as the book.
The story of rockabilly is largely one of individual recordings, rather than stars. Many great performances were laid down by unknowns whose careers were over almost before the ink dried on their record contracts. Yet the first pure rockabilly record ever made launched its teenage singer on the biggest and most successful career trajectory the music world has ever known. The five singles that Elvis, Scotty and Bill cut in Sam Phillips’ Sun Studios in 1954 and 1955 laid down the blueprint for the worldwide rock explosion of the 1950s, but also defined rockabilly for all time. What you have on this collection is Elvis and a selection of those who were chasing his shadow.
The music came in various styles, from the largely acoustic-flavoured hillbilly strain to the flat-out screamers knocking hell out of any instruments within reach, but the focus with this particular selection is mostly on the wilder cuts: Dale Vaughn’s magnificent one-off for the tiny Von label, ‘How Can You Be Mean To Me’; Gene Maltais in the living room of a soundman in New Hampshire, hollerin’ his way through a berserk rendition of ‘The Raging Sea’; an unissued alternate take of Jackie Morningstar’s much-loved song about the joys of being belted over the head with a rock by a thing from beyond the grave, ‘Rockin’ In The Graveyard’.
Youthful enthusiasm, urgent rhythms and stripped-down arrangements driven along by a slapping upright double bass; these were songs sung mostly by teenagers which dealt with all the essentials of the hepcat lifestyle: girls, cars, booze, dancing. Just like the punk explosion 20 years later, 50s rockabilly was a spontaneous outburst of spirited three-chord songs, in which the major companies had a stake, but there was still plenty of room for tiny record labels, primitive studios, fiercely partisan audiences and wild-eyed, driven performers who weren’t planning much farther ahead than the following week. They were chasing something you couldn’t ever quite catch up with, nail down or explain to your parents.
Lightning in a bottle, a tiger by the tail, a rocket in your pocket.
By Max Décharné (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Ace Story Vol. 4
The five original volumes of “The Ace (MS) Story” were part of the backbone of our catalogue during our early days. They disappeared for a long while after our licensing agreement with Johnny Vincent expired, but we were delighted to restore three of the original five to catalogue in 2010 and 2011. Judging by their sales figures, we were not the only ones to be delighted.
This fourth volume more than matches the quality of the first three. Some of its inclusions are among the rarest singles on any of Vincent’s labels. The advent of eBay and GEMM might have made some of them a little more accessible than they used to be, but the tracks by Johnny Angel, Dicky Williams, Albert Scott and Jesse Allen still command high prices. Among the less rare (but no less good) sides are seldom reissued cuts by New Orleans mainstays Huey Smith, Alvin “Red” Tyler and Eddie Bo, as well as no less than three classic Joe Tex cuts in best-ever sound!
As with previous volumes in this series, the original 16 tracks of the vinyl edition have been augmented by eight other gems from Vincent’s vaults. These include Ace’s debut release (and the original of Little Richard’s ‘Slippin’ And Slidin’’), Al Collins’ ‘I Got The Blues For You’ and the label’s first-ever hit in Earl King’s ‘Those Lonely, Lonely Nights’. Collectors will also be thrilled to hear Huey Smith’s ‘Don’t You Know Yockomo’ at the same speed as the vinyl 45 for the first time on CD and the single master of Bobby Marchan’s ‘You Can’t Stop Her’ from a recently located tape source. In fact, all but three of these tracks are appearing here from transfers of the original tapes, some of which have only previously appeared from second or third-generation copy tapes. Great music in its greatest ever fidelity – what’s not to love?
The original vinyl series concluded with a fifth volume, the expanded version of which should be with you towards the end of this year. The good news is that the CD series will be extended to incorporate a sixth and final volume containing rarities and unissued material that was not available to the compilers of the original vinyl series. Betcha can’t wait for that!
By Tony Rounce (Ace Records)
|Ace Records 2012||CD||17.00 €
|VA: - Ain't No Pity In Pseudonym City
25 rock and roll aliases
|Fantastic Voyage 2010||CD||15.00 €
|VA: - B-Seiten
1-CD, 20 page booklet, 20 tracks, playing time 49:23). This compilation presents treasures hidden by the hits, Country & Western, Pop, Rock 'n' Roll, Super stars from the 1950s and 1960s, including an early masterpiece by The Beatles, songs by top-class authors, hidden pearls, to be discovered. -- From 'flip' to hit - from a B-side to success: more often than expected in the history of rock and pop, things turned out differently. All of a sudden, a 45 B-side became a non-expected success. Sometimes alert dee jays did recognize the real potential of certain tunes, thus playing the flip-side rather than the A-side. Needless to say, this attention did not generally lead to big sales - but even without a listing in the charts numerous B-sides had style and class. Some turned into favorites by fans, critics and disc jockeys alike. - Bear Family Records is presenting a collection of 20 songs, tunes you would never get tired of because they stood in the shadow of the A-side. This compilation features B-sides by American top artists like Fats Domino, Ricky Nelson, Eddie Cochran, Connie Francis, Gene Pitney, and The Everly Brothers. And even The Beatles are here, under their early name, The Beat Brothers, then the unknown backing group of British performer Tony Sheridan. - Highly respected composers and authors like Pomus/Shuman, Greenfield/Sedaka, Oldham/Penn, and Pockriss/Vance wrote excellent songs. All these tracks were originally hidden on the flip sides of popular hits on 45s during the 1950s and 1960s. They all have in common that even today they have the quality to be (re-)discovered as treasures in sound.
|Bear Family 2009||CD||18.00 €
|VA: - Before The Fall - 24 Prelapsarian Cuts
f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York.
What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others.
It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings.
These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it.
As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes.
By Dan Maier (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - Berry Gordy - Motor City Roots
2009 is the 50th anniversary of the formation of the worlds most recognisable record label - Motown - and all through the year reissue CDs, major print articles and TV specials have celebrated the music of Berry Gordy.
This compilation is the first ever attempt to gather together examples of Gordy's song writing and production skills in the late 1950s prior to the formation of his legendary label.
This unique collection brings together many of the records that helped in the formation of Motown like Jackie Wilson's 'Reet Petite' written by Gordy and often cited as his first recorded composition along with Kenny Martin's version of 'My Love Is Coming Down' which is making it's CD debut.
To top it off this set also features the earliest recordings of Smokey Robinson & The Miracles as well as those of Motown stalwarts, Marv Johnson, Eddie Holland and members of The Originals who sang with The Five Stars.
|Jasmine Records 2009||CD||12.00 €
|VA: - Blues Belles with Attitude - from the Vaults Of Modern Recor
As the 1940s turned into the 50s girls were supposed to sing about June and moon or the price of doggies in windows, but across town in the black juke joints a more raunchy sound could be heard. Here the girls taunted and challenged with R&B songs that spelled out far more basic emotions. The excitement generated caused many an indie record company to commit such performances to wax, knowing that jukebox sales would follow. The snag was no airplay. In America censorship was in full flow both in film and on the airwaves. This meant it was almost impossible to get major sales, which in turn means that these records are tough to find some 50+ years later.
But here’s where we get lucky. The brothers Bihari, owners of Modern Records, not only recorded much of this genre, but they kept the acetates or tapes. As a result, Ace Records, who now own this material, have been able to put before you 28 tracks of early in-your-face female R&B, 18 of which are previously unissued and a further eight that have not seen prior CD release.
The inspiration for this compilation was Cordella Di Milo sides, whose recordings we have released previously on a Johnny Guitar Watson CD as result of his stunning guitar backing. It dawned on us that this virtually unknown singer deserved to be featured on a collection of similarly aggressive female performances. This led to a trawl of the tracks held in the Modern files, which had not been previously issued or had not seen the light of day for over half a century. After filtering out the pop and smoother nightclub-style vocals, along with material used in the “Mellow Cats & Kittens” series, we were left with a fine collection of R&B, including some by artists of whom we know nothing, not even their names.
After much research and speculation it was decided that the mystery tracks were worthy of issue even if the artists had to remain anonymous. They take their place for your enjoyment alongside stars like Little Esther and Helen Humes and lesser-knowns such as Edna Broughton and Pearl Traylor. Included are two of the best sides ever cut by Effie Smith, Jimmie Lee Cheatum’s only solo vocal and a host of other female talent, included in a mix of storming R&B and tough blues.
Whether it’s Cordella De Milo telling you she ‘Ain’t Gonna Hush’, Effie Smith pronouncing ‘It’s Great To Be Rich’ or Pearl Traylor laying down ‘Daddy, Somebody’s Got To Go’, these Blues Belles have got attitude.
By Ian Saddler (ACE RECORDS)
|Ace Records 2009||CD||17.00 €
|VA: - Bo Diddley Is A Session Man - Studio Work 1955-1957
||Jerome Records 2009||LP||20.00 €
|VA: - Bo Diddley Is A Songwriter
In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…)
One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager.
Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley.
Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides.
As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday.
If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition!
By Tony Rounce (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Boogie Woogie Fever - Collectors Choice Vol. 5
||El Toro Records 2010||CD||12.00 €
|VA: - Boogiology - The Boogie Woogie Masters 2CD
Boogie Woogie was and is an important popular music; many modern music historians talk of the longevity of Rap and Hip-Hop over the last quarter of a century, well, Boogie Woogie easily matched that. But this compilation is not a collation of tracks chosen as a dry, academic history of this great, rhythmic music; this is rather a lively menu, of more than fifty cuts that assisted in the Big Bang of that cultural explosion and were rewarded by selling well-enough to achieve the giddy heights of the national US black music chart.
|Great Voices Of The Century 2009||CD||13.00 €
|VA: - Boppin' By The Bayou
The Cajun people of the plains and swamps of South Louisiana are steeped in music with a raw edge. Prior to World War II the music of the bayous was Cajun; the only real changes were the shift from accordion to fiddle as the lead instrument. The war changed all that. The thousands of Cajun men who served, many of them musicians, were exposed to other music forms; the influences – most notably blues and rhythm, as it was then called, and hillbilly – crept into their songs.
As the 1940s progressed into the 50s, small independent record companies sprang up to record this rural music, which was largely being ignored by major labels. Local radio stations started to play it and the jukebox became a major entertainment in bars and diners where the owner couldn’t afford a live band, or just between sets.
The most prominent of these new record companies were Goldband and Folk-Star founded by Eddie Shuler, and the Fais-Do-Do and Feature banners of J.D. Miller. These were joined by the Khoury’s and Lyric labels of George Khoury. They all started out as vehicles for Cajun and hillbilly music but soon added blues and R&B artists to their rosters.
Dance music had always been the backbone of the Cajun way of life. As traditional bands added heavier rhythms, string basses and drums, their tunes became all the more exciting. South Louisiana – and particularly its youth – like the rest of America, was ready to take the next step.
The catalyst was Elvis Presley. When he stepped in front of the microphone at Radio KWKH for his first Louisiana Hayride broadcast on 16 October 1954, a torch was lit in the hearts of young Cajuns, as it was in the primarily working class youth across the rest of the USA.
Rock’n’roll had arrived and all of the artists on this CD would play a part, revelling in it and giving it a distinctive sound – the sound of the bayous.
The first record companies were quick to add these new artists to their rosters and were soon joined by Jin/Swallow (founded by Floyd Soileau), Hammond (Luke Thompson), Carl (Jake Graffagnino), Hilton (Hilton McCrory) and a plethora of smaller outfits and one-shot deals.
The music produced – whether categorised as rockabilly, swamp pop or Cajun bop – has an added element in coming from this area. Rock’n’roll was already an amalgam of earlier styles; the Louisiana melting pot added its own spice to the gumbo.
This CD is the first in the “Boppin’ By The Bayou” series which will focus on these music forms. The concept has been given added depth by a deal struck with the family of the late J.D. Miller, which allows us to include previously unreleased material. Plus, with new technology, we’ll be reinvigorating tracks discovered by the sterling work of Bruce Bastin and Flyright some 35 years ago. There will also be a “Bluesin’ By The Bayou” series featuring jump blues and R&B.
By Ian Saddler (Ace Records)
|Ace Records 2012||CD||18.00 €
|VA: - Boppin' By The Bayou Again
A SECOND DIP into the gumbo that was South Louisiana’s take on rock’n’roll in the 50s and early 60s, the spicy mix of rockabilly and Southern rockers, heavily influenced by the sounds of R&B wafting from New Orleans and a lifetime of Cajun music.
Following the success of the first CD we are pleased to bring you another compilation full of the obscure and previously unissued. Most of our artists are Cajun born and bred. They grew up in the world where live music was a release from a tough existence: fishing, farming or toiling in the oil fields – but also reflected it. Hence Cajun music was split almost entirely into two genres: raucous good-time dance music or the sentimental, almost wrist-slitting ballads of broken hearts.
The advent of rock’n’roll put a modern twist to these themes; the uptempo rockers had the teenagers a-hoppin’ and a-boppin’ and the songs of shattered love were often the basis of swamp pop. In this series we are concentrating on the former, but it is highly likely that swamp pop collections could follow.
This disc brings you more goodies from Al Ferrier, Johnny Jano, Pee Wee Trahan (aka Tommy Todd), Jay Chevalier, Rod Bernard, Warren Storm, Rocket Morgan and Vince Anthony, all of whom appeared on the first Boppin’ By The Bayou (Ace CDCHD1345), plus treats from Mickey Gilley, Gene Terry, Jim Oertling, Perry LaPointe, Milton Allen, Rusty Kershaw, Cajun Joe, Tony Perreau, J. C. Politz, Bert Bradley, Glenn Owens, Robert Owens, Wiley Jeffers and a previously unheard group (I believe) called The Teen Hearts.
We have been able to present 28 tracks, 12 of which are previously unissued, through our special access to the tapes of the late J. D. Miller, the late Eddie Shuler and our good friend Floyd Soileau. I have been fortunate enough to travel the highways of South Louisiana and that Cajun corner of South East Texas, meeting many of the artists and forging deals with label owners such as Luke Thompson (Hammond) Carl Graffagnino (Carl) and Sarah Rentz (Pel). Oh yes, there are others in the pipeline so we plan further issues with absolutely no drop of standard.
Following in the footsteps and, thanks to improved digital transfer techniques, building on the pioneering work of John Broven, and of Bruce Bastin of Flyright Records, we are capturing the raw energy of a music form peculiar to a relatively small but hugely influential area of the United States of America.
For those who are also who are also bitten by the bug of rockin’ blues and R&B from South Louisiana, keep a watch for the sister series featuring those genres, the first of which Rhythm’n’Bluesin’ By The Bayou is slated for imminent release.
By Ian Saddler (Ace Records)
|Ace Records 2013||CD||18.00 €
|VA: - Born to Be Wild-The Country & Rockabilly Roots Of Ray Campi
||El Toro Records 2011||CD||15.00 €
|VA: - Boys Can Be Mean 2CD
60 Fabulous Femme Pop recordings 1961-67 featuring The Shangri-Las, Gladys Knight, The Dixie Cups, Betty Everett, Ellie Greenwich, Shelley Fabares and many more. Package includes a 20-page memorabilia-laden booklet, informative liner notes plus a hidden bonus track.
Following on the kitten heels of Charly’s critically acclaimed Shangri-Las: Remember… [SNAX625CD] and Red Bird Story [SNAX626CD], comes a stunning 2CD compilation of US Femme Pop gems from the Red Bird, Vee-Jay, Sound Stage 7, Black Pearl, Fire and Fury labels. Comprising solo thrushes and girl groups, R&B divas and teen angels, Boys Can Be Mean is as sensational a set of 60s songbirds as one could hope to find.
The genre continues to influence and captivate contemporary pop and fashion; the late Amy Winehouse cited The Shangri-Las among her favourites, while Grammy Award-winning Adele’s musical bloodline has much in common with white Soul singers such as Evie Sands and deep soul greats like Bessie Banks.
Boys Can Be Mean runs the gamut of teen emotion from despair to elation with stone classics such as ‘Gettin’ Mighty Crowded’ (Betty Everett), ‘Letter Full Of Tears’ (Gladys Knight & The Pips), ‘Please Don’t Go’ (Yvonne Carroll) with lesser-heard but no less-angsty contributions from Tracey Dey, Melinda Marx and The Clinger Sisters .
Combining collector’s favourites with a helping of Hot 100 hits, this set also includes 14 rare recordings not previously available on CD plus several making their first official reissue release, among them Barbara Green, The Angelos and Judy Thomas. The set also features a hidden bonus track new-to-CD.
|Snapper Music 2012||CD||10.00 €
|VA: - British Beat Before The Beatles 3CD
Loistava kokoelma BRITTI ROCKIA JA BEATia ajalta ennen the Beatlesia 1955-1962
|EMI Records 2010||CD-Box||29.00 €
|VA: - British Rock'n'Roll At Decca Vol. 4 1954-1962
||Vocalion 2009||CD||15.00 €
|VA: - Bullett Records: Jump, Blues & Ballads
||Blue Label 2010||CD||12.00 €
|VA: - Campus Boogie - Collectors Choice Vol. 2
||El Toro Records 2009||CD||12.00 €
|VA: - Can't Live Without Rockin'
||Collector Records 2012||CD||15.00 €
|VA: - Cliff Heard Them Here First
Although the majority of Cliff Richard’s hits have come with songs written expressly for him, or that he was the first to cut, the outside repertoire that he has recorded throughout his career has been more interesting than the choices of many of his contemporaries. Sir Cliff was not the only home-grown rocker to cover US material but, unlike his peers, he seldom went into a studio and simply made over the latest fast-rising American hit. With the help of his long time A&R man and producer Norrie Paramor, Cliff found a formidable number of fantastic songs hidden away on obscure US 45s and albums unavailable here.
Having previously celebrated the good taste in covers of his early hero in “Elvis Heard It Here First”, Ace felt it only fair to follow up with a companion volume that does likewise for the Peter Pan of pop. The tracks selected for “Cliff Heard Them Here First” show just how broad Cliff’s tastes were.
Most of his early singles featured original songs, but the material on to his many albums was something else again. “Cliff Heard Them Here First” brings you the original versions of two dozen songs which found their way into Cliff’s discography, ranging from gospel-influenced R&B (Ruth Brown’s ‘Somebody Touched Me’) to rockin’ doo wop (the Jayos’ ‘Tough Enough’), and from ultra-obscure west coast teen pop (Pete Votrian’s ‘We Have It Made’) to a little known Elvis Presley track (‘Angel’).
The booklet reflects the importance of the music that’s preserved here, with copious notes, label shots and ephemera for each track. All but one is new to Ace CD and several of them have never been reissued before in any format. Although the majority of our tracks stem from the first ten years of Cliff’s recording career, there are also examples of songs that Cliff came across and recorded in the early 70s, which show that his ear for a good song and a great record have never deserted him.
These tracks have stood the test of time as well as Cliff’s own career. “Cliff Heard Them Here First” is our salute to the man and the great taste he showed in embracing these songs.
By Tony Rounce (Ace Records)
|Ace Records 2013||CD||18.00 €
|VA: - Clix Records Story
|Pulstar Records 2011||CD||15.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE