|Aimo Saxelin - Juhlalevy - Levytyksiä 1963-1974
AIMO SAXELIN - JUHLALEVY
Aimo Saxelin on syntynyt 26.1.1940 Kymissä. Laulajan uralta on heti mainittava iskelmälaulun Suomen mestaruus vuodelta 1961. Hän oli myös 17 vuotta solistina Mauno Sillanmäen yhtyeessä.
Juhlalevyn julkaisu tulee pienellä viiveellä Aimon 70 – vuotis syntymäpäivään nähden. Alkuperäisten äänitteiden hankinta osoittautui perin työlääksi. En halunnut kuitenkaan luopua projektista! Alkujaan oli tiedossa, että vuoden 1974 levytysten masternauhat eivät ole enää tallessa! Etsintä kohdistui 1960 – luvun levytyksiin. Näiden etsintää viivästytti Warnerin tiloissa ollut tulipalo. Aikanaan tuli tieto, että masternauhat myös 1960 – luvulta ovat kadonneet. Tällöin kävi selväksi, että äänitesiirrot on tehtävä alkuperäisiltä vinyylilevyiltä.
Aimo Saxelinin levyt ovat erittäin harvinaisia ja yleensä hyvin huonokuntoisia. Tiesin, että Turun seudulla asuvalla radiotoimittaja Erkki Rantasella on kaikki Aimon levyt ja vielä hyväkuntoisina. Vihdoin vuoden 2010 lopulla Erkki tuli Tampereelle ja äänisiirrot tehtiin Samu Oittisen toimesta suoraan äänipöytään uudella Fantom Studion levysoittimella. Tästä sain projektin viimein käyntiin.
Istun Aimo Saxelinin olohuoneessa Vantaan Kaivokselassa ja kysyn heti harvinaisemmasta sukunimestä? Hän toteaa, että ruotsalaisperäinen nimi kirjoitettiin aluksi Sax`lin ja myöhemmin nimi alettiin kirjoittamaan Saxelin. Perhe muutti Kymistä Savoon Hirvensalmelle Aimon ollessa yhden vanha ns. sotaa pakoon. Isä Päiviö Saxelin oli maalari ja maalasi mm. Hirvensalmen kirkon sisäosat. Hän oli myös harmonikan soittaja. Äiti Eila lauloi kuoroissa. Vuonna 1951 perhe muutti Mikkeliin Visulahteen. Nyt muutettiin äidin karjakon työn perässä. Koulun loputtua Aimo meni työhön mikkeliläiseen leipomoon. Sanoi aloittaneensa tsupparina 1953 ja ollen leipomon puolella 1955 – 1961.
Aimon vanhempi veli Hannu Saxelin ( 1938 – 2004 ) meni muuton jälkeen 1951 Mikkelin JR7 – soittokuntaan. Tuossa varuskunnan soittokunnassa tuli perusoppia viisi vuotta. Hannun soittimet olivat klarinetti, saksofoni ja huilu. Aimo harrasti nyrkkeilyä nuorten sarjoissa Mikkelin Nyrkkeilijöissä. Hänen lenkkikaverinaan oli hanuristi Ossi Vasara. Elettiin vuotta 1957 ja Ossi kysyi kotonaan Aimolta - oletko sinä musikaalinen, kun veljesikin soittaa? Aimoi lauloi muutaman kappaleen malliksi ja viisi päivää oli aikaa harjoitella ennen ekaa keikkaa, nimittäin Ossi Vasaran yhtyeeltä puuttui solisti seuraavan lauantain keikalta. Aimo Saxelinin ensimmäinen laulukeikka oli Mieskonmäen Maamiesseuran talon syystanssien avajaisissa. Keikka jäi ainoaksi Ossin kanssa, sillä hän lähti Helsinkiin Lasse Kuuselan yhtyeeseen.
Aimo Saxelinin laulajan ura lähtikin nyt alkuun, sillä hän pääsi solistiksi Ossin veljen Oiva Vasaran yhtyeeseen. Toisena solistina oli Irma Purosalmi. Tässä yhtyeessä kului vuodet 1957 – 1961. Ennen joulua 1961 tuli muutto Järvenpäähän. Aimo Saxelinin ura laulajana jatkui useiden yhtyeiden solistina. Hän totesi, että lähti kun pyydettiin. Nimi tuli hiljalleen tutuksi Etelä – Suomen orkesteripiireissä ja Aimo hoiteli hommat hyvin, sekä keikat lisääntyivät.
Aimo Saxelin osallistui uran alkupuolella viiteen laulukilpailuun. Saldo on komea, sillä kaikista tuli voitto! Vuonna 1958 Juvalla oli Erkki Ertama yhtyeineen laulusolistina Lasse Liemola. Tanssi – illan aikana oli myös laulukilpailu. Jaetulle ensimmäiselle sijalle tulivat Aimo Saxelin ja Pauli Purosalmi. Yleisöäänestyksen voitti Aimo Saxelin. Toinen laulukilpailu oli 1959 Mikkelin Työväentalossa. Illan orkesterina oli Veikko Ahvenainen laulusolistinaan Seppo Pirhonen. Täällä myös Aimo Saxelin oli kilpailun voittaja. Hän totesi, että lasten sarjan voitti Heikki Kinnunen. Aimo muisteli, että nykyinen tunnettu näyttelijä oli jo tuolloin vapautunut esiintyjä.
Vuoden 1961 keväällä käytiin iskelmälaulun SM – kilpailujen osakarsinta Mikkelin Urheilutalossa. Säestävä bändi oli nyt Eino Grön orkestereineen. Kilpailun voittaja pääsi Helsinkiin loppukilpailuun. Voittaja oli Aimo Saxelin! Loppukilpailu pidettiin 2.10.1961 Helsingin Kulttuuritalossa. Miesten kotimaisen sarjan voitti Aimo Saxelin! Katselen Aimon olohuoneessa hopealautasta, joka oli palkintona ja on nyt kirjahyllyssä. SM – kilpailuissa oli aamulla karsinnat, jossa Asser Fagerström säesti pianolla. Eri sarjoissa karsijoita oli yli sata. Aimo lauloi kappaleet ” O`sole mio ja Angelique .” Paikka finaaliin tuli, joka alkoi illalla. Eero Väreen orkesteri säesti ja Aimo Saxelin lauloi kappaleen ” Angelique,” jolla tuo voitto tuli. Yhtenä tuomarina oli Olavi Virta. Aimo sai vielä voiton Turusta vuonna 1962. Hän muistaa pakollisen kappaleen ” Kenian yössä.” Kilpailu pidettiin Turun uudessa Konserttitalossa. Tämän kilpailun voitto toi levytyksen!
LEVYTYKSIÄ JA ERI ORKESTEREITA
Ensilevytys oli yhdessä Reine Rimònin kanssa. Kappale ” Ilta Linnanmäellä ” tuotettiin Polydor – merkille vuonna 1963. Reine Rimòn ( 1942 ) oli jo nimeä saanut jazzlaulajatar. Hän lauloi 1950 – luvun lopulla ravintoloissa nimellä Nina Rives. Ravintoloihin nuoren iän vuoksi hän vaihtoi taiteilijanimen. Opiskelun jälkeen hän oli solistina omalla nimellään eri orkestereissa mm. Erik Lindströmillä. Vuoden 1960 aikana hän perusti yhyeen, jolla oli nimenä Nina`s Combo. Hän meni Aerolle lentoemännäksi 1960 – luvun puolessavälissä ja laulut loppuivat. Uudelleen jazzlaulajattaren ura alkoi 1980 – luvun alussa. Hän laulaa perinteistä New Orleans – tyylistä jazzia. Asuu Kaliforniassa ja käy Suomessa esiintymässä festivaaleilla. Säestävänä bändinä on ollut Hot Papas. Aimo Saxelin sanoi minulle, että ei ole tavannut Reineä heidän levytyksen jälkeen.
Bequine ” Paula ” levytettiin vuonna 1964 ja tällä kappaleella komeaääninen Aimo Saxelin tuli jo kaikkien kuuluviin radioiden kautta. ” Paulassa ” on komea alttosaksofoni- saundi. Radiotoimittaja Erkki Rantanen toi esiin Aimon levytyksistä kappaleen ” Rakkauden syksy.” Hän sanoi olleensa koulun jälkeen työssä Naantalin Sokeritehtaalla ja kuuli tuon kappaleen taustamusiikkina radion rinnakkaisohjelmasta. Elettiin vuoden 1965 syksyä ja Erkkihän hankki tuon levyn välittömästi. Tuolta ajalta asti Erkin suosikkisolisteja ovat olleet mm. Mikko Järvinen, Reijo Viita ja Aimo Saxelin. Myöhemmin myös Eero Savolainen.
Fonovox – yhtiö tuotti 1974 kokoomalevyn, jolle Aimo lauloi neljä tangoa. Sovittajana toimi 23 – vuotias Jarmo Jylhä. Hän oli hankkinut sovittamiseen oppia Tommy Nordströmiltä. Orkesteri soi komeasti Aimo Saxelinin taustalla, joten nuori sovittaja on onnistunut erinomaisesti! La Paloma on nostettava esiin. Tässä tango – habanerassa iso orkesteri soi erityisen mallikkaasti Aimo Saxelinin loistavan laulun säestyksessä. Jälleen saksofonisaundi tuo piristävän soinnin. Levytys onkin Suomessa La Palomasta yksi parhaista! Kappaleenhan sävelsi Sebastian de Yradier ( 1809 – 1865 ). Hän palasi Kuubasta 1861 ja tämän jälkeen noin 1863 syntyi tämä maailmankuulu sävellys.
Aimo lauloi vapaana solistina koko 1960 – luvun. Pidempi 10 kk kiinnitys oli 1963 Onni Gideonin orkesteriin. Kokoonpano oli seuraava; Onni Gideon basso ja havaijinkitara, Hannu Saxelin klarinetti, saksofoni ja huilu, Juhani Aalto pasuuna, Björn Björklöf trumpetti, Markku Marttina piano ja urut, sekä englantilainen Norman Nikhols rummut. Tästä isosta kokoonpanosta tuli hyvää oppia Aimolle, näin hän totesi. Seuraavien muusikoiden yhtyeissä hän oli mukana eri aikoja; Seppo Ohtama, Matti Väkeväinen, Yrjö Latva, Leo Tallgren, Aarne Jokela, Teuvo Ihanus, Jorma Weneskoski ja Matti Lavi.
MAUNO SILLANMÄEN YHTYE JA AIMO SAXELIN
Vuodesta 1970 alkaen Aimo Saxelin oli solistina tunnetussa Mauno Sillanmäen yhtyeessä. Solistivuosia kertyi peräti 17 aina vuoteen 1987 asti. Yhtyeen kokoonpano oli seuraava; Mauno Sillanmäki harmonikka. Uolevi Haapanen viulu, trumpetti ja pasuuna, Vesa Issakainen basso ja Jouni Varis rummut. Basisti Vesa Issakainen oli kuunnellut Aimo Saxelinia Oulunkylän Pikkukoskella ja oli sanonut Mauno Sillanmäelle, että Saxelin olisi hyvä solisti heidän bändiinsä. Aimo Saxelin totesi, että Mauno soitti hänelle ja nopeasti pääsivät sopimukseen vakituisesta laulusolistin paikasta. Mauno Sillanmäki perusti yhtyeen nimiinsä 1960 – luvun puolessavälissä. Aikaisemmin olivat lyhytaikaisia solisteja mm. Ossi Lehtinen ja Kalevi Raninen.
Loistavaääninen Aimo Saxelin oli jo nimekäs solisti ja Mauno Sillanmäen yhtye nousikin nopeasti huipulle! Yhtye pääsi esiintymään kaikkiin Suomen johtaviin tanssipaikkoihin. Varsinkin pääkaupunkiseutu laajennettuna Uudellamaalla oli yhtyeen ominta aluetta. Maakunnissa myös kierrettiin. Huippuvuotena oli 127 keikkaa ja kahtena vuotena 120. Kaikilla oli myös lisäksi päivätyö. Mauno Sillanmäki ( 1932 – 1995 ) oli kotoisin Pirkanmaan Pohjaslahdelta ja sai soitto – opin Työväenyhdistyksen Torvisoittokunnassa. Antti Koivula ( 1932 ) Ylöjärveltä muistelee Maunon soittaneen es – kornettia. Samasta kunnasta ja soittokunnasta oli myös Uolevi Haapanen ( 1929 ). Vesa Issakainen ( 1941 ) on kotoisin Tuupovaarasta, sekä Jouni Varis Joensuusta. Variksen tilalle tuli rumpuihin 1970 – luvun puolessavälissä Harri Väreluoto ( 1941 ). Hän on lähtöisin Malmilta. Mauno Sillanmäki muutti Helsinkiin 1956 ja meni Aerolle työhön. Alkuaikana hän oli hanuristina ainakin Uolevi Haapasen kvintetissä ja Veikko Vuorisen yhtyeessä ennen omaa kokoonpanoa. Vaimon työn myötä hän muutti Karkkilaan. 1980 – luvulla Manulle tuli sydämen läppäongelmaa ja joutui operaatioon. Keikkoja oli vähennettävä ja lopulta yhtye oli lopetettava sellaisenaan 1987. Muutos oli suuri, koska hän oli soittanut koko ikänsä! Hänet tunnettiin hyvänä neuvottelijana ja sai soittokeikkoja hyvin. Itsekin tunsin tuon hyvin positiivisen soittajan. Hän oli loistava orkesterihanuristi. Sointuja riitti ja säesti laulajaa hyvin! Vesa Issakainen totesi, että joukko tanssijoita kulki mukana useissa paikoissa, koska heidän tahtibalanssi oli paikallaan. Musiikki oli ”tanssijalkaan” sopivaa. Kuuntelin Mauno Sillanmäkeä ja Aimo Saxelinia aikanaan usein ja on todettava, että yhtye oli kvarteteista Suomen parhaimmistoa. Oli viulu- ja puhallinsaundi Uolevi Haapasen ansiosta.
Aimo Saxelin esiintyi myös TV:n lauantaitansseissa, sekä aikaisemmin ohjelmissa ”Nuorten portaat ja Nuorten kykyjen esiinmarssi.” Hän oli myös Dario Campeotton ja Robertinon kanssa eräässä kansainvälisessä TV – ohjelmassa. Lauloi ” Paulan,” jossa veli Hannu Saxelin soitti saksofonisoolon. Hannu Saxelin oli pitkään radion musiikkitoimittajana. Toinen veli Matti ( 1951 ) oli rumpalina Dave Lindholmin alkuaikojen kokoonpanossa.
Aimo lopetti laulamisen heinäkuussa 1990. Mauno Sillanmäen yhtyeen jälkeen jatkoi sama kokoonpano vielä nimellä Aimo Saxelin yhtyeineen kolme vuotta. Aimon päivätyö oli puutarha – alalla. Hän otti myös aikanaan laulutunteja Eero Väreeltä, Saga Leanderilta ja Pentti Tuomiselta. Tuon ajan laulajat kehittivät itseään. Aimon laulun oli huomioinut myös Dallapèn Eero Lauresalo. Hän pyysi Aimo Saxelinia Dallapèn solistiksi vuoden 1968 keväällä. Lauresalo oli sanonut, että meillä ei soiteta mitään uudempaa. Nuori Aimo ei innostunut pelkästä vanhasta tanssimusiikista. Dallapèhen menikin Kalevi Korpi.
Kiitän Aimo Saxelinia hyvästä yhteistyöstä, sekä Timo Lindströmiä ja Jarmo Jylhää Warnerin ja Fonovoxin levyoikeuksien jatkokäytön luvasta CD – formaattiin. Ilman Erkki Rantasen levyjä tämä projekti ei olisi ollut mahdollinen. Samoin kiitokset Erkille. Hellevi Viitasen ja Reijo Viidan arkistoa sain käyttööni jälleen. Kiitokset myös heille.
|Salix 2011||CD||15.00 €
|Albert King - The Definitive Albert King On Stax 2CD
||Stax Records 2011||CD||22.00 €
|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 €
|Aretha Franklin - Young, Gifted And Black
originally released 1972
|Arthur Conley - I'm Living Good - The Soul Of Arthur Conley 1964-1974
Like several of his 60s peers, Arthur Conley’s career was damned by the success of one record – in his case, ‘Sweet Soul Music’. For many on the periphery of soul music, that song was the beginning and the end of Arthur’s career and overexposure may have coloured their judgement of quality of the other records he made before and after it. Happily, the soul hardcore has always been able to see beyond a hit and Arthur has long been a hero to collectors for the kind of music that makes up this great new Kent compilation
“I’m Living Good” showcases a side of Arthur’s catalogue those familiar with his funky dancefloor favourites don’t always know – that of a Premier League deep soul man. Not every track is down-tempo, but each one is a representation of Southern Soul at its most forthright and creative. If you only know, say, ‘Sweet Soul Music’ or ‘Funky Street’, it will be a revelatory experience.
We have left no stone unturned in our attempts to bring you 100% top quality Conley. Almost every phase of the man’s solo career is represented, over a span of almost 10 years across the Ru-Jac, Jotis, Fame, Atco and Capricorn labels. These tracks were produced by Otis Redding, Booker T Jones and Stax boss Jim Stewart, Rick Hall, Tom Dowd, Johnny Sandlin, Clarence Carter and Swamp Dogg – which itself is all the qualification anyone should need as to their superiority. Many are being reissued here for the first time.
Highlights abound, from both sides of the ultra-rare Ru-Jac 45 (of which there are less than five documented copies) to the intense ‘If He Walked Today’, previously only available on a South African LP and 45. Those who turn their 45s over will not need to be sold on the virtues of ‘Let’s Go Steady’, ‘Love Comes And Goes’, ‘Put Our Love Together’ or ‘Is That You Love’, which were all first released as flips to massive club hits. My favourites include ‘Otis Sleep On’, an emotional salute to Arthur’s then-recently demised mentor and chief career booster Mr Redding, and the wonderful ‘Walking On Eggs’, one of the best examples of a Swamp Dogg song (and title!) ever to find its way out of the ever-active brain of Jerry Williams Jr. Really, though, this is a CD you can pluck anything from and come up with a winner.
As always, we’ve gone to town on the booklet, which contains label shots and picture sleeves from all over the world and previously unpublished photos taken inside FAME studios in the 60s and London in the early 70s. Even those who already have some of these tracks on the CD issues of Arthur’s albums will find plenty to get excited about here. The overdue public reappraisal of this important soul brother begins here. Do you like good music? Yeah, yeah!
By Tony Rounce (Ace Records)
|Ace Records 2011||CD||17.00 €
|Asleep At The Wheel - Asleep At The Wheel
The band was started by Texas singer and guitarist Ray Benson with Lucky Oceans in 1969 and they've been swinging ever since. This is their first Epic album. On the surface Asleep At The Wheel are a major mainstream country band. Nine Grammy Awards, plus 11 albums and 17 singles which have made the Top 100 country charts in the States.
Yet they started out taking musical risks, mainstay Ray Benson says ....we were really a rootsy band . They benefited from the fact that these were times when anything was possible, the music business was still in its infancy and musicians were encouraged to take risks, there were no rules, you made it up as you went along.
They released their first album in 1973 on United Artists, having been signed by Andrew Lauder. Although it didn't chart it did enough to convince people that there was something special about the band but a change of personnel at the label led to them being dropped. However this disappointment was offset by EPIC picking them up for this their self titled album. Released in 1974, this was to move them further forward with
|T-Bird Records 2010||CD||18.00 €
|Bobby Sheen - Anthology 1958-1975
At last a Bobby Sheen anthology! Comprising recordings that stretch from Sheen’s debut lead vocal via his Phil Spector period to his final single, this sweeping collection covers a variety of styles that range from doo wop and the Wall of Sound to Northern and Southern soul.
The earliest tracks here were cut by Bobby as the lead vocalist of the Robins, the group he joined as a 16 year-old in 1958. The influence of Clyde McPhatter is very evident on these sides, especially ‘Live Wire Suzy’ (a Belgian popcorn favourite) and the group’s lively take on ‘The White Cliffs Of Dover’.
By 1962 Sheen was working with Spector, initially on a one-off 45 for Liberty Records. Sharing lead vocal duties with Darlene Love, he reached the Top 10 later that year with ‘Zip-A-Dee Doo-Dah’, released as by Bob B Soxx & the Blue Jeans on the producer’s Philles logo. He also contributed a soaring version of ‘The Bells Of St Mary’ to Spector’s classic “A Christmas Gift For You” LP.
The McPhatter influence is still evident on ‘I Want You For My Sweetheart’ and ‘My Shoes Keep Walking Back To You’, released as a one-off single on the Dimension label in 1965. A contract with Capitol resulted in a handful of singles including the Northern Soul favourite ‘Dr Love’ (released in the UK in the now very collectable Capitol Discotheque ’66 series). This compilation also boasts two previously unissued Capitol sides: ‘Baby I’ll Come Right Away’ (the wonderful Ashford/Simpson song well-know to soul fans via Mary Love’s reading) and the slow blues ‘Don’t Pass Me By’.
As the 60s came to a close, Bobby switched from his high tenor to a more contemporary lower register, cutting great tracks for Warner Bros in Muscle Shoals, Alabama with producers Clayton Ivey and Terry Woodford. His superb recordings of Philip Mitchell’s ‘Something New To Do’ (another Northern anthem) and ‘I May Not Be What You Want’ are among his best work. He sounds totally different again on ‘Don’t Make Me Do Wrong’. The Ivey/Woodford team also produced Bobby swansong single, issued on the Chelsea label in 1975.
The performances collected here are proof that Bobby was a singer who deserved a much higher profile than he achieved. Despite his great looks, obvious talent and strong music business connections, he never registered a hit record in his own name. This CD redresses the balance and proves that all Bobby lacked was good luck.
Years spent as a member of the Coasters kept him in work until his untimely death from pneumonia in November 2000. His son Charles has become the custodian of his father’s legacy and contributed the wonderful photographs that illustrate the CD’s accompanying booklet, which features an essay by Dennis Garvey built around exclusive interviews with many of Bobby’s friends and colleagues.
By Simon White (Ace Records)
|Ace Records 2010||CD||17.00 €
|Bobby Womack - Across 110th Street 2CD
||Charly Records 2012||CD||18.00 €
|Bonnie Dobson - Vive La Canadienne
(1-CD DigiPac - four panel - with booklet, 24 tracks. Playing time: 81:50) -- A long-overdue reissue of the rare folk recordings of Canadian singer Bonnie Dobson. Her 1961 composition 'Morning Dew' continues to draw attention and praise. Her 1960s recordings such as 'Live At Folk City ' reflect the American folk music boom at the height of its creativity and popularity. Her 1964 and 1972 folk albums are combined here, with previously unissued recordings. -- Bonnie Dobson is best known as the composer of 'Morning Dew'. Written in 1961, 'Morning Dew' was subsequently recorded by artists including The Grateful Dead, Clannad, Nazareth, Tim Rose, Lulu, Jeff Beck and Robert Plant. -- Always a well-respected figure within the folk scene, Dobson was born in Toronto, Canada in 1940. 'I was nurtured on the music of Paul Robeson. I have a memory of standing next to the record player and singing along to 'I Still Suits Me'. I guess I must have been about four years old at the time.' -- When she was barely 20 Dobson went from singing at school assemblies to sharing a stage with Sonny Terry & Brownie McGhee at a major US folk festival. Although she lacked professional experience, the pristine quality of her voice attracted promoters and producers to her. Her earliest albums, including a live performance at Gerdes Folk City in New York's Greenwich Village, continue to draw praise. -- Her final American albums drew Dobson away from the pure folk tradition in the direction of popular music. She recalls, 'The last recordings I made were my RCA albums in 1968/69, both of which were heavily orchestrated.' Despite the change in production style, what strikes listeners most about Dobson is the stellar quality of her voice. Producer Bobby Scott writes, 'It has always seemed to this writer that music is the language of this thing we call love. And nothing can compare with the voice of love speaking through a beautifully pure instrument. The voice of Bonnie Dobson is such an instrument. Her gifts are remarkably natural. There is in this Canadian girl's voice an innate enchantment. For some singers the voice must be a developed mechanism. Not so with Miss Dobson. Her voice........can only be called a gift.' -- Bonnie Dobson moved to London, England in 1969 and gave up writing and performing shortly afterwards. She began her second career at the University of London, working and studying in the fields of politics, philosophy and history. -- It's been too long since the name Bonnie Dobson has graced a CD release. To folk fans, her name is familiar and her talent is well respected. If this is your first encounter with her you are in for a rare experience. As producer Bobby Scott concludes, 'Bonnie Dobson is an artist. Not just a singer but a bit of Autumn wind and Summer rain and she is as natural. I am sure that Love has had no sweeter or warmer champion than Bonnie Dobson'.
|Bear Family 2010||CD||17.00 €
|Buckingham Nicks - Crying In The Night / Crying In The Night
The fantastic opening track of Buckinghmam Nicks super rare 1973 LP on Mono and Stereo versions! Great repro 45 with black & white picture sleeve… classic! PURPLE colour vinyl
|Polydor 2011||Single/EP||10.00 €
|Buddy Rich - Speak No Evil / Plays And Plays And Plays
Two LPs from the 1970s on one CD.
|BGO Records 2010||CD||18.00 €
|Candi Staton - Evidence - The Complete Fame Records Masters 2CD
Candi Staton is the finest female singer ever to grace a Southern Soul recording, her achingly vulnerable vocals perfect for the lyrics of the best country/soul songs. Luckily for us, during her tenure at Rick Hall’s Fame label she got the best songs, mostly from the pen of George Jackson, perhaps the top Southern Soul songwriter of his generation. George spent every waking minute of his day writing songs and probably came up with a few while he dreamt too. As Candi herself said, “That was his thing.”
Brought to the FAME studio by her then husband-to-be Clarence Carter, Candi had a Top 10 R&B hit with her very first single on the Fame label, the catchy and upbeat ‘I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool)’, penned by Jackson in 1969. Those who flipped the single over were treated to more Staton/Jackson magic on the beautiful ballad ‘For You’.
From 1969 to 1973, Hall got the very best from Candi, with one gem after another pouring out of his studio down in rural Alabama: songs of cheating, heartache and loss such as the superb ‘Mr And Mrs Untrue’, the edgy ‘Evidence’, the tender ‘Too Hurt To Cry’, the heartrending ‘You Don’t Love Me No More’ and the churning ‘I’m Just A Prisoner’.
Years later Candi revealed that the appealing raw edge which crept into her voice at times was achieved by Hall urging her on to record the same song up to 25 times. Though George Jackson was Hall’s writer of choice for Candi, Rick was also brave enough to take a chance recording her on songs that were firmly associated with other more established artists. Candi’s take on Tammy Wynette’s ‘Stand By Your Man’ is a marvelous slice of Southern Soul whatever your views on the politically incorrect lyrics, while her exquisite version of ‘In The Ghetto’ rivaled Elvis Presley’s mega-hit, and both her covers received Grammy nominations.
Candi’s complete output on the Fame label, in pristine sound, would be a mouth-watering prospect for any soul connoisseur, but Kent have upped the ante immeasurably with the addition of 12 previously unissued tracks, including her final session for the label recorded just before she signed with Warner Brothers in early 1974. The standard of the unissued sides is easily on a par with her released material and I wholeheartedly endorse Dean Rudland’s assessment of these tracks as significant discoveries in his excellent liner notes accompanying this release. Here again George Jackson’s name can be found on many of the credits, including the infectious dancefloor number ‘One More Hurt’ (which has stood the test of time a lot better than many of Candi’s later disco releases), but the find of Kent’s trawl through the FAME vaults is ‘We Had It All’, an outstanding country soul ballad written by Donnie Fritts and Troy Seals and previously recorded by Waylon Jennings.
Candi Staton has since spoken about the ups and downs in her personal life at the time of these recordings, but even before we read about it we could hear in her voice that she had lived the heartache, loneliness and doomed love affairs contained in the lyrics of these songs. There are many first class Southern Soul records by female vocalists from the late 60s and early 70s, but none were as consistently excellent as Candi Staton’s output for the Fame label. This is simply as good as Southern Soul gets.
By Martin Goggin (Ace Records)
|Ace Records 2011||CD||20.00 €
|Charles Mingus - Changes One
Originally released 1975
|Music On Vinyl Records 2013||LP||20.00 €
|Cramps - File Under Sacred Music: Early Singles 1978-1981
10 x 7" Vinyl Singles + a stamped envelope with memorabilia.
Very well done compilations of The Cramps early singles. Plus some tracks from the same period that were never issued on the single format. The vinyl box-set contains six repro sleeves and four new sleeves designed for this box-set.
The Cramps were record collectors before they were a band. When Erick Purkhiser and Kristy Wallace met in 1972, they discovered they were both into the same kind of thing: the music of 15 years or so earlier that had been all about kitsch and shock and sleaze, with shitty sonics and snarling, hiccuping singers, and hilarious over-the-top bravado. In the early 1970s, being into "50s rock'n'roll" meant American Graffiti and Sha Na Na and "Happy Days". Wallace and Purkhiser preferred the nasty also-rans-- the records that actually tried to be the threat to society that people sometimes pretended pop music could be.
It wasn't much of a leap to starting their own band in the same mode. Purkhiser reinvented himself as Lux Interior, the slavering, writhing, nearly naked, ectomorphic frontman of the Cramps, and Wallace was Poison Ivy Rorschach, a "bad girl" in leather and wigs and velvet who tore off one ichor-dripping 12-bar guitar riff after another. They didn't have a whole lot in common with their early punk scenemates other than big guitar noise, but punk rock gave them license to do sleazy, shocking, sopping wet rock'n'roll without having to bother with the usual thin veneer of respectability.
The Cramps were an institution for over 30 years, until Lux's death in 2009. They were one of the few punk-era bands who were well served by aging, since they were trying to come off like creepy, depraved old people in the first place. But they were always a better singles band than an album band, and a way better live act than a singles band. Most of the songs that made their reputation are collected on this suitably trashy set. The vinyl version of File Under Sacred Music is, appropriately, a "collectible" box of the band's first 10 singles in replica sleeves--or rather, it would be except that four of them were never actually issued as singles at the time. (The Cramps always did snicker at anything that claimed to be authentic.)
That's probably the ideal way to hear this material: Lux, Ivy, and their ever-rotating associates made the kind of strong, silly records that are best in hot-sauce doses of between three and six minutes. They occasionally came up with fabulously personal-space-invading originals like "Human Fly" and "New Kind of Kick", the latter of which features two lines that explain their raison d'être: "Life is short/ Filled with stuff" and "I learned all I know by the age of nine." The better part of File Under Sacred Music, though, is the crate-digging covers that were their calling card.
Their first single (produced, like a lot of their early material, by Alex Chilton) was a cover of one of the most familiar trash-rock staples, "Surfin' Bird", extended to five minutes with a sloppy gnarl of guitar and drum noise. They subsequently shied away from anything that familiar. Instead, they turned their attention to obscurities whose quirks they exaggerated to the point of perversion. Jack Scott's "The Way I Walk" was slowed down to a psychotic limp, with Lux hyperventilating every line and Ivy screaming bloody murder in the background; Ronnie Cook & the Gaylads' nutty novelty "Goo Goo Muck" turned into a hilariously lascivious threat on which Lux shrieked, trilled, gurgled, and enunciated the title like it referred to whatever bodily fluids your parents feared most.
The title of File Under Sacred Music is a joke about the dusty record stores the Cramps loved, as well as about their own discography: Songs the Lord Taught Us was the title of their first album, Songs the Cramps Taught Us the name of one of the many series of bootlegs of the original songs they covered. But the amazing, out-of-control music they saved from oblivion could show them up, at least on record. To hear the Novas' feral pro-wrestling novelty "The Crusher" ("Do the hammerlock, ya turkeynecks!") next to the Cramps' cover is to understand the difference between lunatics who've somehow ended up with a mic in front of them and record collectors doing a solid, deliberate impression of lunatics.
|Munster Records 2012||Single/EP||75.00 €
|Cramps - Live At Club 57 !! 1979
live from 1979 + 9 demos 1977-1979
|Moonlight Records||CD||20.00 €
|Cramps - Songs The Lord Tauhgt Us
180 gram vinyl. limited 1000 copies re-pressing of this LP originally released 1979.
|Vinilisssimo 2011||LP||20.00 €
|Crazy Cavan & The Rhythm Rockers - Teddy Boy Boogie 2CD
This 2CD set comprises 36 of their best loved tracks from their hugely popular debut album Crazy Rhythm released in 1975 up until 1979’s Still Crazy.
|Charly Records 2012||CD||12.00 €
|Dave Edmunds - Subtle As A Flying Mallet
albumi vuodelta 1975
|RPM Records 2013||CD||17.00 €
|Del Shannon - The Essential Collection 1961-1991 2CD
includes all his hits alongside hard-to-find rarities, album tracks and b-sides that chronologically span his thirty year recording legacy.
|Demon Music Group 2012||CD||10.00 €
|Denise LaSalle - Making A Good Thing Better
The music that came out of Stax Records pretty much defined the Memphis Sound throughout the 1960s. As the 70s dawned, the sound came to be redefined by records produced by Willie Mitchell down the road from Stax at Royal Studios. In 1971, two singles emanated from Royal that exemplified Mitchell’s new Memphis Sound and took it to the masses. One was Al Green’s ‘Tired Of Being Alone’. The other was Denise LaSalle’s ‘Trapped By A Thing Called Love’.
A groundbreaking record in its time, ‘Trapped By A Thing Called Love’ remains a defining example of what Southern Soul is all about. It took Denise to the very top of the Billboard R&B chart and made her an overnight success at the age of 30, after half a dozen previous 45s had failed to even nudge that chart. Even if Denise had never scored another hit, the record would have ensured her standing as a great of the genre.
Fortunately, Denise did place many other fine 45s on the R&B and Pop charts over the next few years. Although she hailed from Chicago (via Mississippi) and released her music on a Detroit-based label, Denise was a high-profile standard bearer for female Southern Soul throughout her prime chart time. For over five years, Denise’s hits were recorded for Westbound Records and all of them feature here on “Making A Good Thing Better” – surprisingly, her first-ever greatest hits compilation.
Denise released 12 Westbound singles, nine of which hit the R&B charts. In the wake of ‘Trapped By A Thing Called Love’, she hit the R&B Top 5 twice in succession with ‘Now Run And Tell That’ and ‘Man Sized Job’ and almost all of her other hit singles reached the Top 30 – a measure of how popular she was at that time. Although most of her Westbound sides were cut in Memphis, she also recorded in Muscle Shoals and, towards the end of her tenure, in Detroit, the city that gave Denise her final hit for the label with the sublime ‘Married, But Not to Each Other’, a classic of the cheatin’ songs genre. Wherever she chose to record, the end product always came out as superior Southern Soul.
Denise has long been overdue a singles compilation and we’re delighted to rectify that. All the tracks included here have been freshly mastered from the original Westbound production tapes. For those who want to hear Denise LaSalle at her best, singing hits that were all over the radio in the early 70s, it’s going to be an essential purchase.
By Tony Rounce (Ace Records)
|Ace Records 2013||CD||18.00 €
|Dick Damron - More Than Countryfied 3CD
CD DigiPac with 68-page booklet, 86 tracks, playing time 205:53. -- A comprehensive, complete collection of the early years of 'Canada's Willie Nelson': Dick Damron. The first of two Bear Family multi-disc collections to compile Dick Damron's career. One of Canada's greatest country music stars, and a member of the Canadian Country Music Hall Of Fame. Everything Dick recorded between 1959-1976, from his debut rockabilly single 'Gonna Have A Party' to his outlaw country era of the 1970s. Many performances reissued for the first time since their original vinyl release, including the rare '1867-1967: Canadiana Souvenir Album' of Canadian-Centennial celebration. Original versions of Dick Damron's biggest hits, including 'Hitch Hikin''; 'Mother Love And Country', 'The Long Green Line', and his career hit 'Countryfied', which was also a huge hit for George Hamilton IV. -- Dick Damron is one of Canada's musical treasures, with a long career in country music that spans six decades. Best known for his 'outlaw country' era of the 1970s, his friend George Hamilton IV calls Damron 'Canada's Willie Nelson.' This 3-CD collection rounds up the early years of Damron's career, from his 1959 rockabilly debut single 'Gonna Have A Party' to his hard country recordings made at Starday Studios in Nashville in the 1960s, his biggest career hit 'Countryfied' from 1970, and his 'outlaw' era breakthrough recordings from the 1970s produced by Joe Bob Barnhill. Many of these recordings are reissued on compact disc for the first time, including Damron's 1967 album of 'Canadiana' produced for Canada's Centennial celebration. 86 songs in all, this excellent collection is long overdue for one of Canada's greatest exports, Dick Damron.
|Bear Family 2011||CD-Box||50.00 €
|Doris Troy - I'll Do Anything - The Doris Troy Anthology 1960-1996
’ll never understand why the term “one hit wonder” has come to be seen as pejorative. One hit is certainly one more than I ever had – how about you?
Doris Troy placed only one song on the US Hot 100, but what a song! ‘Just One Look’ has endured as a much-covered standard, heard in countless movies and commercials. If that one wonderful hit is all you know of singer-songwriter-producer-arranger-session vocalist-actress Doris Troy, then here’s chance to catch up with what you missed. I’ll give you a hint – you’ve missed a lot. Doris Troy earned every hyphen. “I’ll Do Anything: The Doris Troy Anthology 1960-1996” amasses, for the first time ever, songs from every phase of a most illustrious career, ranging from her very first recording to her last.
Affectionately dubbed Mama Soul, Doris Troy cut her teeth singing in church and worked as a teenaged usherette at New York’s legendary Apollo Theater before joining Cissy Houston, Dionne and Dee Warwick and Judy Clay in forming the premier New York studio backup group (two Chuck Jackson classics that feature cameos by Doris are included herein). She released two singles in 1960 as Doris Payne and a 1961 duet under the name Jay & Dee (all three make their digital debut here) before striking gold with her self-penned superhit.
10 sterling examples of her tenure with Atlantic Records comprise the heart of this set, including the irresistibly catchy ska-tinged ‘What’cha Gonna Do About It’ and ‘Please Little Angel’, co-written with a then-fledgling writing team named Ashford and Simpson. Incidentally, Doris co-wrote the song that gives this anthology its title, ‘I’ll Do Anything’, with another nascent writing combine you may have heard of named Gamble and Huff.
Both sides of the ultra-rare 1967 Capitol single ‘He’s Qualified’ and ‘Face Up To The Truth’ make their CD bow here. After that release, Doris decamped to England, again becoming the go-to girl for background vocals on classic hits for Dusty Springfield, George Harrison, Pink Floyd and the Stones, to name a few. In cahoots with Harrison, she released a brilliant LP on Apple in 1970, represented on this disc by ‘Ain’t That Cute’ and ‘You Tore Me Up Inside’.
Two definite high points are 1974’s Dandy Livingstone-produced reggae-inflected romp through Eddie Floyd’s ‘Don’t Tell Your Mama’ and a sparkling disco workout from 1977, ‘Can’t Hold On’, both new to CD. By this time, Doris had moved back to the States where she eventually starred in the musical based on her life, Mama I Want To Sing, written by her sister, New York radio luminary Vy Higgensen. The sisters are heard on a high-spirited duet released here for the first time anywhere.
Doris’ final recording was for Ace in 1996 – ‘Hear Me Calling’, a duet with British blue-eyed soul wunderkind James Hunter. Doris’ heartfelt, gut-wrenching reading of the gospel standard ‘Take My Hand, Precious Lord’ provides a poignant and powerful coda to a poignant and powerful collection.
The customary worth-the-price booklet includes rare photos and cuttings, remembrances from friends and colleagues Ady Croasdell and David Nathan, and Mick Patrick’s biographical essay drawing from a previously unpublished 1995 interview with Mama Soul herself. If you’ve only given just one look to Doris Troy, “I’ll Do Anything: The Doris Troy Anthology 1960-1996” is a golden opportunity to rectify that oversight.
By Dennis Garvey (Ace Records)
|Ace Records 2011||CD||17.00 €
|Elvis - The Man And His Music - # 87 - March 2010
Norbert Putnam Interview
Elvis In Scotland - The One Hour Visit That Went Down In History
Aloha From Hollywood - Rare 1960 Interview
Dayton Reloaded - October 6th 1974 revisited
It's Midnight...or is it the Dinner Show? Part 9
CD, DVD & Book Reviews
|Now Dig This 2010||Lehdet||6.00 €
|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 - Another Saturday Night
Shreveport. Louisiana 1975
|Follow That Dream 2012||CD||29.00 €
|Elvis Presley - As Recorded At Madison Square Garden 2LP
The live album 'As Recorded at Madison Square Garden' was originally released in June 1972, just one week after the concert took place at the Madison Square Garden arena in New York City. This show was Presley's first live concert in the Big Apple since the 1950s. Many musicians attended one of his shows most notably amongst them George Harrison, Art Garfunkel, David Bowie, all the members of both Ten Years After and Led Zeppelin, Paul Simon and Bob Dylan. Being backed by an eight-piece band, an orchestra and eight backup singers the show itself is the more elaborately produced follow-up to his Las Vegas performances of 1969-1970.
180 gram audiophile vinyl
6 mm sleeve
|Music On Vinyl Records 2012||LP||25.00 €
|Elvis Presley - Classic Christmas Album
||Sony Music 2012||CD||7.00 €
|Elvis Presley - Classic Elvis
|Sony BMG 2008||CD||8.00 €
|Elvis Presley - Elvis 75 - Good Rockin' Tonight 4CD Boxi
A Collection Fit For A King. The Definitive Elvis Presley Box Set. 4CDs = 100 songs.
Every side of ELvis: The Hits, Rarities, Deep Cuts, Film Songs & Live Recordings
New Liner Notes by Billy ALtman
Rare Photos & more
|Sony Music 2009||CD-Box||60.00 €
|Elvis Presley - Elvis Country 2CD
The Elvis Presley series of Legacy Edition multi-disc packages continues its focus on important phases of the king's recording career at RCA Records. Forty years after its release in 1971, Elvis Country, an LP that found him getting back in touch with the Nashville country music mainstream, is the lynchpin for ELVIS COUNTRY: LEGACY EDITION, the newest entry in the series.
ELVIS COUNTRY: LEGACY EDITION is the first Elvis release of 2012, a year which marks the 35th anniversary of the artist's passing and a year-long celebration of his life and legacy. A full schedule of catalog reissues and compilations are planned by longtime Elvis archivists/co-producers Ernst Mikael Jørgensen and Roger Semon.
Included in the new package on CD one is the original 12-song Elvis Country (subtitled "I'm 10,000 Years Old"), which debuted January 23, 1971, on the Billboard 200 album chart. The album peaked at #12, spent 21 weeks on the chart, and was certified RIAA gold. Three bonus tracks are drawn from the original recording sessions of June and September 1970 (more info below). On CD two, from the June sessions, comes the original 11-song Love Letters From Elvis (chart debut June 26, 1971, peak position # 33, 15 weeks on the chart), also with three bonus tracks from the original sessions.
In his liner notes to ELVIS COUNTRY: LEGACY EDITION, writer Stuart Colman calls the original Elvis Country "a pivotal release, in that it served to maintain the momentum generated by the ''68 Comeback Special,' the breakthrough in Las Vegas and Elvis Presley's long overdue return to touring." Colman, a veteran British rock musician since the '60s, is also a prolific album notes writer and compilation producer, with a special interest in roots rock, rockabilly, and early R&B.
Upon Elvis Country's original release, future Presley historian and biographer Peter Guralnick wrote in Rolling Stone, "[he] has come out with a record which gives us some of the very finest and most affecting music since he first recorded for Sun almost 17 years ago." The idea of inserting excerpts of "I Was Born About Ten Thousand Years Ago Years" (a track that did not appear on the original album but does appear on this Legacy Edition as a bonus track) in between the album tracks gave the LP a conceptual feel that had never been encountered before. And the songs, from the high-energy rock of "I Washed My Hands In Muddy Water" and "Whole Lotta Shakin' Goin' On" (which gives Jerry Lee Lewis a run for the money), to the big ballads that were becoming an Elvis trade mark (Eddy Arnold's "I Really Don't Want To Know" and Willie Nelson's "Funny How TimeSlips Away" among them) were some of Elvis' greatest performances ever.
The songs chosen for Love Letters From Elvis from the June 1970 sessions included an inspired coupling of Muddy Waters' rollicking "Got My Mojo Working" with "Keep Your Hands Off Of It" ("a peculiar combination of hypertension and soul," as popularly characterized by Guralnick). It was offset by the ballads that were chosen as singles, "Rags To Riches" (the Tony Bennett hit of 1953), the inspirational "Only Believe," and "Life." The latter was one of three cuts from up-and-coming songwriter Shirl Milete covered at the June sessions, along with "When I'm Over You" and "It's Your Baby, You Rock It."
Elvis Country was a breath of fresh air for most of his millions of fans, and signaled a renaissance of his creative energies. Prior to Elvis Country, his last album of original studio material (non-movie soundtrack material) was in 1969, when he recorded in Memphis at American Studios with producer Chips Moman. The result of those January and February hometown sessions was the landmark LP From Elvis In Memphis, and a year-long string of 'comeback' hit singles that reestablished Elvis: "In the Ghetto," "Suspicious Minds," "Don't Cry Daddy" and "Kentucky Rain."
Three factors contributed to the totally reinvigorated image of Elvis Presley in the new decade of the 1970s: 1) the impact of the "'68 Comeback Special" (i.e. the NBC broad cast of December 1968 that featured Elvis dressed in black leather); 2) the string of Memphis-recorded hits that began in the spring of 1969 (chronicled on From Elvis In Memphis: Legacy Edition, issued in 2009); and 3) Elvis' return to public performing which began in Las Vegas that summer and continued into January-February 1970 (as chronicled on On Stage: Legacy Edition, issued in 2010)
Those three factors over lapped the release of Change Of Habit in November 1969, the final (31st) Hollywood movie in Elvis' lifetime. In fact, prior to the Elvis Country studio sessions of June and September 1970, and the International Hotel recordings in Las Vegas before that, the last time Elvis had set foot in any recording studio was in March 1969 to cut a handful of tracks at Decca Universal for Change Of Habit. After 1969, Elvis would no longer be saddled with movies he did not believe in, and movie soundtrack songs he believed in even less.
Into 1970, Elvis was performing two shows a night at the International Hotel during January-February, and then checked into the Houston Astrodome for a weekend (six shows) that netted a record-breaking gross with over 250,000 people in attendance. After a well-deserved break, he finally arrived in RCA's Studio B in Nashville the first week of June 1970.
The last time he had recorded there was in January 1968 when he cut some tracks for that year's movie, Stay Away, Joe. It marked his final studio sessions with his own long-time bandmates (guitarist Scotty Moore and drummer D.J. Fontana) and the original Nashville 'A-team' that had served him so well: guitarists Chip Young and Jerry Reed, pianist Floyd Cramer, bassist Bob Moore, drummer Buddy Harman, Pete Drake on steel guitar, Charlie McCoy on harmonica, and of course the Jordanaires.
By the time he returned two and a half years later, for the five nights of sessions (Thursday, June 4th through Monday, June 8th)that are discussed here, producer Felton Jarvis had assembled a whole new 'A-team' (with Young and McCoy the only hold overs). The new band had the feel of the Memphis hitmakers of 1969, mainly because their core members were part of the original Muscle Shoals sound which put that town on the map: bassist Norbert Putnam, pianist David Briggs, and drummer Jerry Carrigan. Add in masterful guitarist James Burton - who had become indispensable to Elvis after the two recent Las Vegas residencies - and the scene was set.
There were inevitable contrasts to the tightly structured Memphis sessions, but it ended there. In Nashville, once the song-pluggers put in their suggestions, the rest was up to Elvis, who never ceased to surprise all who were present He laid down first and second takes with ease, and then turned around and initiated impromptu studio jams that kept the musicians firing on all cylinders.
It all came to a head on the fourth night. After a couple of warm-ups (including Eddy Arnold's "I Really Don't Want To Know"), they thought back to the country tunes they'd already recorded, and the idea of a country album began to take shape. In short order, Elvis laid down Bob Wills' western-swing standard "Faded Love" and Ernest Tubb's "Tomorrow Never Comes." After cutting Hank Cochran's barroom weeper "Make The World Go Away" (via Eddy Arnold),Elvis and crew moved on to Willie's "Funny How Time Slips Away" and then "I Washed My Hands In Muddy Water," familiar to rock and roll fans of Johnny Rivers, but originally a big country hit for Stonewall Jackson.
The whole crew reconvened for one night in September, a productive session that yielded "Whole Lotta Shakin' Goin' On" and ultimately the opening track on the Elvis Country LP, a cover of "Snowbird." Anne Murray's debut hit from that summer '70 was written by Gene MacLellan, composer of "Put Your Hand In the Hand," another Canadian hit that Elvis covered. (The other two tracks from the session showed up later in '71 as the single, "Where Did They Go, Lord" b/w "Rags To Riches.")
Barely five months separated the releases of Elvis Country and Love Letters From Elvis in 1970, and the two albums have always been regarded together in the Elvis canon. In mid-1971, Elvis returned to Studio B for a solid week of recording in May, and three follow-up nights in June, resulting in some 40-plus masters. Much of them were heard later that year on Elvis Sings the Wonderful World Of Christmas, and the following year on his gospel LP, He Touched Me. Ironically, Elvis never recorded again in Nashville's RCA Studio B.
In every way, ELVIS COUNTRY: LEGACY EDITION tracks a seismic change in his recording career. It came at a moment which turned out to be a true turning point for him. "Elvis seemed inspired, singing with a passion and soulfulness that recalled Memphis," wrote Jørgensen in his essential research guide, Elvis Presley: A Life In Music (St. Martin's Press, 1998). "The band fell in with equal feeling, their confidence and expressiveness growing along with his. Both singer and band were performing out of genre, improvising their own rhythms and phrasing on the spot, challenging each other." To paraphrase Jørgensen, "they had something to be proud of."
|Sony Music 2012||CD||28.00 €
|Elvis Presley - From Hawaii To Las Vegas
) 20 tracks (60:08) digipac. From Hawaii To Las Vegas Provides A Unique 'Fly-On-The-Wall' Experience Of Elvis Rehearsing The Day Before His Opening Engagement At The Las Vegas Hilton On January 26, 1973. Captured On A Personal Tape Recorder, The Sonic Quality Is Below Normal Standards, But Historical Significance More Than Compensates For Its Audio Limitations.
|Follow That Dream 2012||CD||29.00 €
|Elvis Presley - Gold - Greatest Hits 3CD
3CD box = 42 tracks. tin box
|Sony Music 2009||CD-Box||15.00 €
|Elvis Presley - Golden Records - Original Album Classics 5CD
Golden Records / Gold Records Vol. 1-5
|Sony Music 2011||CD||23.00 €
|Elvis Presley - I Am An Elvis Fan - A Collection Of Elvis Songs Chosen By Th
A Collection Of Elvis Songs Chosen By The Fans
|Sony Music 2012||CD||22.00 €
|Elvis Presley - Our Memories Of Elvis - Vol 1,2 & 3 - Pure Elvis Sound 2CD
||Follow That Dream 2012||CD||29.00 €
|Elvis Presley - Promised Land 2CD
48 tracks from 1973. gatefold 7" size package with 12 page booklet.
|Follow That Dream 2011||2-CD||29.00 €
|Elvis Presley - Sings Songs From His Movies 2LP
||BCD BV 2011||LP||18.00 €
|Elvis Presley - That's The Way It Is
originally released 1970
|Sony Music Entertainment 2011||LP||20.00 €
|Elvis Presley - The Essential 2CD
||Sony Music 2010||CD||17.00 €
|Elvis Presley - The Real Elvis 3CD
3CDs = 90 tracks from 1950s, 60s and 1970s
|Sony Music 2011||2-CD||9.90 €
|Elvis Presley - This Is Elvis Presley - The Greatest Hits
||Sony Music 2012||CD||10.00 €
|Emerson Lake & Palmer - Trilogy
||Music On Vinyl Records 2011||LP||20.00 €
|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 €
|Esa Pakarinen - Meiltähän Tämä Käy! - 48 Ikimuistoista Kappaletta 2CD
ESA PAKARINEN (9.2.1911 - 28. 4.1989) oli suomalaisen viihteen historian
merkittävimpiä ja monipuolisimpia tekijöitä. Suuri yleisö oppi tuntemaan hänet mm.
näyttelijänä, laulajana, muusikkona sekä esiintymislavojen koomisena ja tunteisiin
Esa Pakarinen kuului sotien jälkeisen rillumarei-viihteen keulakuviin, ja esiintyi
yli 20 elokuvassa. Pakarisen monipuolinen musiikillinen tuotanto sisältää yli 200
levytettyä kappaletta, joista suuri osa hänen omia sävellyksiä ja sanoituksiaan.
julkaisu on Esan syntymäpäivänä 9.2.2011.
|Hytinä 2011||CD||25.00 €
|Etta James - Losers Weepers
One of the best ideas that anyone at Ace has come up with in 2011 occurred when my colleague Mick Patrick proposed a series of expanded versions of several of Etta James’ Argo, Cadet and Chess albums that has hitherto eluded digitisation. It’s quite astounding how many of the albums that Etta released during her 15 years as the Chess group’s flagship female singer have not been issued on CD, especially given that the format’s now been with us for almost 30 years. But thanks to Mick and Kent, the number is gradually decreasing, with two “expanded editions” so far this year and the promise of more in 2012.
Etta’s 1970 album “Losers Weepers” is the latest to receive the treatment – and the wait has been well worth it. Recordings from this period of Etta’s five decade-long recording career have been somewhat neglected by the reissue market – but no more. This expansion of “Losers Weepers” really brings a full-on focus to some great music that more or less fell by the wayside when originally released, partly because of Etta’s personal circumstances at the time but mostly because she was regarded by many as having had her day as an R&B chart force.
Etta was in pretty bad shape when she made these recordings, but her rampant narcotic dependence did not stop her making the terrific music that you hear here. ‘Heavy Soul’ was a phrase that you heard frequently in the late 60s/early 70s and the intensity in the two-part title track completely defines the term. Etta’s sublime versions of ‘I Got It Bad (And That Ain’t Good)’, ‘The Man I Love’ and ‘For All We Know’ are the logical continuation of her immortal collaborations with arranger Riley Hampton, at the other end of the 60s, which produced the timeless “At Last” album.
Elsewhere Etta makes a relatively obscure Bee Gees song ‘Sound Of Love’ sound like it was written by three bruthas from Birmingham, Alabama rather than three brothers from Manchester, England. Her vocal on her revival of the Falcons’ R&B classic ‘I Found A Love’ is almost as riveting as that of the song’s original singer, Wilson Pickett. A revival of one of Etta’s old Modern recordings ‘W.O.M.A.N’ almost matches the original take for sass and sexiness. Etta’s take on the Association’s pretty 1966 near-chart topper ‘Never My love’ will leave you wishing Ms James had spent lots of time working in Philly with Bobby Martin, rather than cutting just the one session…
…And these are just bonus tracks folks!
No matter how well you might think you know Etta James, this set of songs will increase and enrich your knowledge of the lady’s work no end. It’s a tragedy that Etta is not likely to ever again be able to grace a recording studio, but fortunately her catalogue is full of delights like “Losers Weepers” that will keep her name alive for many years to come.
By Tony Rounce (Ace Records)
|Ace Records 2011||CD||17.00 €
|Etta James - Who's Blue ?
In the annals of R&B’s great unsung heroines, you won’t find Etta James. Nobody’s idea of an underdog, she recorded prolifically for over 50 years and can hardly be said to have toiled in obscurity. Etta grabbed the spotlight as a teenager with her first recording, ‘Roll With Me Henry’, and went from strength to strength from there, cruising into the Rock & Roll Hall of Fame early and winning her most recent Grammy in the 21st century. Inarguably her most successful work, both commercially and artistically, was unleashed during her 15-year tenure with Chicago’s fabled Chess Records, where she rolled out a decade-long string of hits and a dozen LPs.
“Who’s Blue? Rare Chess Recordings of the 60s and 70s” eschews the many big hits that have been endlessly anthologised, instead cherry-picking an eclectic selection of B-sides and album cuts, 18 of which make their digital debut and one that’s never been released anywhere. Is there anything better than discovering new treasures sung by a superstar icon at the peak of her powers?
Recorded in a variety of locales (Chicago, Muscle Shoals, Nashville, Los Angeles, even New Jersey) the tracks herein showcase Etta’s artistry in a broad variety of styles. Her stock-in-trade blues shouting comes to the fore on a couple of Willie Dixon-penned barn-burners, ‘Nobody But You’ and ‘Fire’, while she indulges her passion for smooth jazzy crooning on ‘It Could Happen To You’ and ‘I Worry About You’. She tackles 70s-style rock on ‘Only A Fool’ and offers a few country standards, most notably a sublime reading of Mickey Newbury’s ‘Sweet Memories’ and a surprising take on Don Gibson’s ‘Look Who’s Blue’.
Of course, Etta James is primarily (and rightfully) revered as a towering figure in the pantheon of 60s soul, and there’s no shortage of that here, from the funky drive of ‘Take Out Some Insurance’ and the swaggering riposte of ‘(I Don’t Need Nobody To Tell Me) How To Treat My Man’ to the searing deep soul of ‘My Man Is Together’, the frisky scatting on ‘You Can Count On Me’ and the Berry Gordy-penned rocker ‘Seven Day Fool’. And speaking of songwriters, there’s a 1970 remake of ‘What Fools We Mortals Be’, a song Etta had recorded in 1956 from the pen of her mother, the notorious Dorothy Hawkins.
A vault find seeing light for the first time anywhere, ‘Can’t Shake It’ finds Etta romping through a girl-group-styled workout, and you can almost hear the smile on her face. Another highlight is ‘That Man Belongs Back Here With Me’, a missed opportunity for a hit single if ever there was one. As is ‘Do Right’. Actually, ‘Street Of Tears’, ‘You’re The Fool’ and ‘Let Me Know’ would sound right at home on any “Best of Etta” collection as well.
That’s the wonderful thing about “Who’s Blue?". It’s not Etta James’ “Greatest Hits”. It just sounds like it could be.
By Dennis Garvey (Ace Records)
|Ace Records 2011||CD||17.00 €
|Francoise Hardy - Midnight Blues - Paris London 1968-1972
The events of May 1968 across France signalled the end of the yé-yé era and a new seriousness in French pop. Unlike perky domestic stars such as Sheila or France Gall, Françoise Hardy had always had a moody image – in reality she was chronically shy. A keen astrologer, this is something she has always been quick to blame on her star sign, Capricorn: “You have the longest nights, the longest absence. When the sun is in Capricorn, you are not there. You are below the horizon. You are invisible.” 1968 was also the year she retired from public performance after a rare tour of Britain.
Françoise had set up her own independent Asparagus Productions in late 1967. Initially, her old label Vogue continued to distribute her records, but in 1969 Françoise signed a deal with the small Sonopresse imprint, where she would stay until 1972. For many of her fans this is the most intriguing and exciting part of her career.
From the beginning of her career and into the early 70s, Françoise recorded quite extensively in English, German, Italian and Spanish, but that material is not easy to find these days. This collection, recorded variously in Paris and London between 1968 and 1972, comprises tracks drawn from her albums “En Anglais”, “One-Nine-Seven-Zero” and “Françoise Hardy” (aka “If You Listen”) and offers a very welcome opportunity to hear her perform in English.
1965’s ‘All Over The World’ had given Françoise her only UK Top 20 hit. Although she couldn’t follow it up in Britain, France remained loyal and she was still a huge star there when she made her first full, specially recorded English language album “En Anglais” in 1968.
“One-Nine-Seven-Zero” – released worldwide in 1969, but never in France– was recorded at several different sessions in London and Paris, and with a number of disparate collaborators. Though its variety of studios and arrangers could have made it a patchwork, the album is held together by a clutch of songs written and produced by Tommy Brown and Micky Jones. The opening trio – ‘Song Of Winter’, ‘Magic Horse’, ‘Strange Shadows’ – are especially strong, with warm, full arrangements by Jean-Pierre Sabar.
Jones and Brown also contributed ‘Bown Bown Bown’ to 1972’s “Françoise Hardy”, recorded at Sound Techniques in Chelsea with folk rock producer Tony Cox. Sound Techniques was a bit like a social club for folk musos from Joe Boyd’s Witchseason stable. The Trees album had been recorded there, as had albums by Fairport Convention and Fotheringay. The latter’s Gerry Conway and Pat Donaldson played on the sessions for Françoise’s album, along with Richard Thompson and Fairport drummer Dave Mattacks.
There are precious few enough albums from this golden period of folk rock as it is; this release gives long overdue exposure to a unique coming together of the British folk underground and a French musical legend.
By Bob Stanley (Ace Records)
|Ace Records 2013||CD||18.00 €
|Freddie King - Texas Flyer 5CD Box
(5-CD Boxed Set, LP-Size, with 80-Page-Hardcover Book, 64 tracks. Playing time: 363:47). -- Completes the Freddie King story, with all of his 1974-75 RSO studio recordings (some with label-mate Eric Clapton) and four jam-packed discs of sizzling mid-'70s live performances. Bear Family's first Freddie King box was one of our best-selling, best-reviewed sets EVER! This is the exciting sequel. Contains King's acclaimed 'Burglar' album, produced in England by Mike Vernon, as well as rarities and an unreleased version of 'That's All Right'. Most of the riveting live performances on this immense box are previously unreleased, and all are beautifully recorded in crisp, clear stereo. No bootleg quality sound here! Beautifully designed accompanying book features plenty of photos, a full discography, and extensive liner notes that include fresh interviews with Mike Vernon, trumpeter Darrell Leonard (who produced six of the live tracks), and one of Freddie's notable '70s sidemen, pianist David Maxwell. -- This 5-CD boxed set picks up right where Bear Family's first mammoth and highly acclaimed Freddie King box, 'Taking Care Of Business 1956-1973', left off, chronicling the last years of the great Texas-born blues guitarist's legacy with RSO Records, where, of course, Eric Clapton also recorded. King's producer, Mike Vernon, had previously founded Blue Horizon Records, England's top blues label. Vernon would helm King's first RSO album, 'Burglar,' in Great Britain; the set spotlighted Freddie's high-energy attack in a funky soul-laced setting. One song on the acclaimed album was cut in Miami with Tom Dowd producing and Eric Clapton on second guitar. Also included are several more studio-cut gems, including a previously unreleased version of Jimmy Rogers' 'That's All Right', and King's last Vernon-helmed single for RSO, done in L.A. with the city's top R&B session aces. - The other four discs capture Freddie in all his onstage glory, working his magic in front of appreciative live throngs. The great majority of these in-concert performances have never been released until now; they're all professionally recorded in sparkling stereo with Freddie's crack touring band in tow and King in typically dazzling form. The last live number dates from a month-and-a-half before Freddie's tragic December 1976 death, featuring him in a guitar-wielding guest role as Clapton sings Farther Up The Road.
|Bear Family 2010||CD-Box||115.00 €
|Hank Davis - One Way Track
||Bear Family 2012||CD||17.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE