CD (182)

LP (61)

Single/EP (2)

DVD (2)

CD-Box (10)

LP-Box (1)

Kirjat (1)

Lehdet (4)

10" LP (4)

2-CD (31)


Show all

1920's (2)

1930's (7)

1940's (12)

1950's (214)

1960's (298)

1970's (75)

1980's (33)

1990's (19)

2000's (15)



Uusimmat julkaisut - 1960-luku

Result of your query: 298 products

1 - 2 - 3 - 4 - 5 - 6
Johnny Stark - Rockin' Billy
Finest Teen Rock & Roll and Rockabilly From Hollywood. All The Early Recordings. All for The First Time On CD. 22 songs & 12 page booklet
Hydra Records 2013 CD 15.00 €
Julie London - Eight Classic Albums Vol. 2 4CD
Eight original LPs on 2CD. 96 tracks
Real Gone Music 2013 2-CD 10.00 €
Kustom Kings - Kustom City U.S.A.
Prior to becoming a full-time Beach Boy and well before he wrote the song that made the whole world sing, Bruce Johnston was a key member of the West Coast music scene. In 1959, while still in high school, Johnston played piano on friend Sandy Nelson's hit single, "Teenbeat." This opportunity kicked off an incredibly prolific period for the young musician. Johnston recorded under his own name as well as many group names, playing with the cream of the California session personnel, The Wrecking Crew. He also made records with his friend Terry Melcher until Melcher moved on to pursue record producing full time. Johnston was producing as well but saw no reason to stop his musical pursuits. Songwriter, vocalist, producer, session musician—if the surf and hot rod scene had a renaissance man, surely it was Bruce Johnston.

By 1964, Johnston was already a proven veteran. Following up the success of The Rip Chords collaboration with Melcher and its hit single "Hey Little Cobra," Johnston revved up The Kustom Kings. With a mission statement "to present the most authentic hot rod album on the market," the Kustom City U.S.A. album brought together an all-star team. Bruce Johnston wrote and co-wrote much of the LP's material, as did producer/arranger/saxophonist Steve Douglas. Rounding out the band were guitarists Tommy Tedesco and Glen Campbell, Ray Pohlmann on bass, Jay Migliori on second sax and Hal Blaine on drums—WOW! For added authenticity, car designer George Barris, "THE KING OF THE KUSTOMIZERS," jumped on board as a special adviser. He, along with several of his rolling works of art, is pictured on the album's artwork. Looking at the full-color front cover slick, you can practically smell the burning rubber and fresh coats of paint!

The too-cool visuals are just a bonus, however, because the REAL story is the music! A hi-octane mix of vocal tracks and charging instrumentals, there is not a second of filler to be found among the twelve tracks. Tedesco and Campbell lock in gripping guitar duels while Douglas and Migliori wail over the timing belt beat of Blaine and Pohlmann. Johnston contributes superb vocal and piano work and together, the Kustom Kings jam the accelerator down to floorboard! An album this magnificent should have ruled the charts, but things were moving quickly in 1964 and the public's attention soon turned elsewhere. Through the ensuing years, word of Kustom City U.S.A. and its brilliance spread through the collector scene, with copies of the LP changing hands for considerable sums. And now, just when you thought the tank was on E, Sundazed roars in with a maniacally marvelous reissue! Sourced from the original stereo masters, Kustom City, U.S.A. has been tuned up and restored to showroom condition.
Sundazed Music 2013 LP 20.00 €
Lee Dresser & The Krazy Kats - Beat Out My Love
Here we have the nearest thing to Jerry Lee Lewis. A mixture of rare recordings from 1958 going through his recordings from the sixties through to the modern day! 31 hot rockin' tracks!!
Rockstar Records 2014 CD 15.00 €
Leona Williams - Yes, Ma'm He Found Me In A Honky Tonk 3CD
3-CD digipac (8-plated) with 48-page booklet, 82 tracks. Total playing time approx. 217 mns.
Contains 82 classic country tracks, including her top ten hit duet with Merle Haggard, The Bull And The Beaver!
Includes many previously unreleased recordings and a 'lost' album produced by Tompall Glaser!
Contains a biography based on extensive personal interviews!
48-page booklet with many rare photos from Leona Williams' personal collection and a detailed discography!
Some colleagues and friends about Leona Williams:
"Leona Williams is a great singer. She sings with a lot of soul. I know her family must be very proud of this Bear Family box set. I wish her a lot of happiness and success." - Willie Nelson

"When I listen to Leona Williams sing it goes right to my heart; I can feel every emotion that she puts in a song. In my opinion Leona Williams is one of the greatest songwriters of our time. My only regret is that I don't get to see her enough, but when I do it's an honor to be in her presence. I am so excited because I'd like to do a whole damn album of her songs, even though I am a little scared I couldn't do them justice, but guess what?.....I'm gonna try!" - Tanya Tucker

"Leona Williams.....the purest voice this side of the Mississippi and beyond! Skillfully crafts songs from a woman who has lived through the lyrics she writes. My heart-felt thanks for creating this traditional country music collection! I love your music and the honesty it brings." - Rhonda Vincent

"Leona Williams is the greatest female country singer that has ever stepped up to a microphone. She can make a grown man cry with her sad songs. I love the lady and her music. What a nice lady!" - George Jones

"Leona will always be one of my very favorite people in the world. She was the first artist that ever thought enough of one of my songs to record it. And that feeling of having one of your own songs recorded by someone else has lasted a lifetime." - Vince Gill
If ever in the annals of country music there was a 'singer's singer' it would have to be Leona Williams. She is regarded as one of the finest 'pure country' vocalists and continues to tour the world entertaining her loyal fans. Her personal singing hero, George Jones, has referred to her as "one of the greatest country singers that has ever stepped up to the microphone."And Merle Haggard was so taken with her vocal abilities that he married her (a union they would both come to regret.)
Williams began her career as a teenager in her home state of Missouri with her own local radio show, before moving to Nashville and signing with Hickory Records in 1968. She recorded such classics as Once More, Yes Ma'm (He Found Me In A Honky Tonk) and Country Girl With Hot Pants On. She moved on to RCA Records and then MCA, where she worked with future husband Merle Haggard, and top-notch producers like Porter Wagoner. This set features 82 classic tracks – all of her studio recordings, including several previously unreleased tracks, for Hickory, and a complete unreleased LP produced in 1986 by Tompall Glaser. A detailed discography and liner notes by Randy Fox, drawn from extensive interviews with Williams, tell the story of her incredible life and career.
Bear Family 2013 2-CD 40.00 €
Lesley Gore - Girl Talk with Bonus Tracks
The liner notes to Lesley Gore’s “Girl Talk” LP mourn the influx of “twanging guitars, psychedelic sounds and moaning voices” and hails Lesley for “singing in tune” and “pronouncing the lyrics of a song so they are understandable”. This was October 1964, when America was smack in the midst of Beatlemania. Lesley Gore, like so many American artists navigating the music scene, had to contend with the British Invasion, but she managed to weather the changing climate and remain in the Top 20 from ‘It’s My Party’ in early 1963 through to ‘California Nights’ in ’67.

By the time “Girl Talk” was released in October 1964, Lesley had entered her first year at Sarah Lawrence College in Yonkers, New York. It was drastically different from Dwight School For Girls. She had to cope with cynical teachers who thought her enrolment was a PR stunt and students who were not too keen to make her acquaintance. “It was not an easy transition. I came there as a star, and I gotta tell you, they treated me like shit. I was a pop singer at a time when it was a whole lot hipper to be a beatnik.” Lesley would sport a more beatnik look on her fifth album, “My Town, My Guy And Me”, but “Girl Talk” already hinted at an artist moving beyond her teenybopper years and eager to expand her musical palette.

Album opener ‘Hey Now’ was risky – far more feisty and rhythmic than Lesley’s usual material. Its follow-up, ‘Maybe I Know’, proved that teenage pop could be smart and gimmick-free. The single also established a relationship between Lesley and songwriter Ellie Greenwich, who penned the song and its fab successor ‘Look Of Love’ with her husband Jeff Barry. Ellie, along with singers Jean Thomas and Mikie Harris, were integral to the making of “Girl Talk”, giving the album its lush tones and girl group feel. The girls spent a day in July 1964 recording eight of the cuts on “Girl Talk” with Quincy Jones and engineer Phil Ramone at the mixing board. Devastating ballad ‘Say Goodbye’ owes much of its magic to their voices echoing Lesley’s pain. Lesley was particularly fond of ‘You’ve Come Back’, a Van McCoy ballad she calls “one of my favourite songs of all time. I remember the first time I heard it on a demo, and I cried like a baby. I said, ‘I really need to do this song.’ That’s how deeply it affected me.” McCoy pops up again on ‘It’s Just About That Time’, delivered with all the feeling of a girl having to tear herself away from her beau to make it home by curfew. ‘Little Girl Go Home’ is another of her cherished “Girl Talk” moments. “When I was over in France, Charles Aznavour, who I idolised, invited me to his house for lunch. I met the writers and I heard ‘Little Girl Go Home’ for the first time. It has some very wonderful memories.

Lesley celebrated 50 years in the music business in March 2013. “Five decades!” she enthuses. Five decades on and Lesley Gore’s impact still reigns strong – in the message of ‘You Don’t Own Me’ and in modern-day artists such as Drake, Icona Pop, Jessie J and Miley Cyrus who keep ‘It’s My Party’ alive and well in the present.

By Sheila Burgel (Ace Records)
Ace Records 2014 CD 18.00 €
Lilian Briggs - I Want You To Be My Baby
he first-ever CD release featuring the recordings of Lillian Briggs, who achieved superstar status at the dawn of the 50's rock era with a string of exciting singles, though she never got to make an album of her own. She was called 'The High Priestess of Rock and Roll' and the press named her 'Queen' at the same time that Elvis was 'King,' but in reality Briggs could sing it all - jive, bop, blues, rockabilly, ballads and swing. To top it all off, she could also play a mean trombone! With her platinum blonde hair, brassy personality and skin-tight gowns, the former laundry truck driver quickly became a top headliner throughout the world. Though best-remembered today for her biggest hit, the Jon Hendricks classic 'I WANT YOU TO BE MY BABY,' this jam-packed 33-track Jasmine compilation offers ample proof that Lillian was no 'one-hit wonder' and contains nearly all of her known commercial recordings.
Jasmine Records 2013 CD 13.00 €
Link Wray - Big Box Of Link Wray And More Kings Of Distortion 6CD
Floating World Records 2014 CD-Box 18.00 €
Link Wray - Rumbling Guitar Sounds Of Link Wray 2CD
He may not have been the greatest guitar player, technically speaking, but Link Wray’s talent as an innovator makes him one of rock’s most influential figures. What Wray was doing to the sound of the electric guitar in the late Fifties, introducing distortion and the power chord into the language of rock’n’roll, inspired a generation.

Wray’s early years were tough. Born on 2 May 1929 in Dunn, North Carolina, Fred Lincoln ‘Link’ Wray Jr was part Native American – reputedly half Shawnee, born to a Shawnee mother – at a time when this was frowned upon. His parents were semi-literate street preachers and his father had been shellshocked in the First World War. Growing up in the South could be frightening and the family regularly had to hide from Klu Klux Klan raids. A brush with the German measles left young Link with poor eyesight and hard of hearing. When he was drafted for the Korean War, he contracted tuberculosis and had to have his left lung removed. It’s a wonder he managed to launch a career at all!

When he was eight he met a black circus performer called Hambone who taught him the rudiments of the guitar, a few chords and how to use a slide. After he was discharged from the Army, he came home to Portsmouth, Virginia where his family had moved, bought his first guitar, a Gibson Les Paul, and formed a country band, Lucky Wray and the Palomino Ranch Hands, with brothers Vernon and Doug.
In January 1958 Link and his band were playing dance nights in Fredericksburg, Virginia and were egged on to come up with a number in the vein of ‘The Stroll’, a hit for local combo the Diamonds. What Wray came up with broke all the rules – a raw, bluesy, overdriven instrumental. Originally called ‘Oddball’, the number went down a storm with the crowd and resident DJ Milt Grant took the band under his wing. Early attempts to get the excitement of the track onto tape failed and in a fit of frustration, Link started to move microphones and amplifiers around, puncturing his own amp’s speaker with a pencil to stumble on the now fabled ‘fuzz tone’ beloved of guitarists the world over.
But the record labels weren’t biting and ‘Oddball’ was turned down by the likes of Capitol and Decca. Archie Bleyer at Cadence Records wasn’t enthused either, but his stepdaughter and her friends loved it and suggested the song be re-named ‘Rumble’ because it reminded her of West Side Story, the play about rival gangs who used the term as slang for a fight.
Bleyer decided to issue ‘Rumble’ as a 45 in April 1958, but this snarling two-chord classic became the first instrumental song ever to get banned on account of its ‘potential to incite gang violence and juvenile delinquency’. It nevertheless rocketed to the Number 16 slot and remained in the US charts for 10 weeks, selling over a million copies, backed by the equally compelling ‘The Swag’.

When Bleyer attempted to clean up his sound, Link quit Cadence and signed to Epic. More superb, highly original instrumentals followed and are featured here for your pleasure. On numbers like follow-up 45, ‘Raw-hide’ (featuring his brand new Danelectro Longhorn guitar) and later singles like ‘Jack The Ripper’ (US chart placings Numbers 23 and 64 respectively) Link experimented further with rougher and more aggressive tones. To record ‘Jack The Ripper’ he placed his amp in a hotel stairwell to get creepy reverb effects.

Link and his band released debut LP ‘Link Wray And The Ray Men’ in late 1959, many of whose tracks are compiled here. And though the craze for guitar instrumentals faded, Link returned to the Top 40 on the single ‘Hide And Go Seek’ by Bunker Hill in 1962; it’s Link’s bloodcurdling scream most remember it for!

Disillusioned by the music business, he retired to the family farm but kept recording. In the Eighties various classic Wray recordings started to crop up on movie soundtracks, notably ‘Jack The Ripper’ on the Richard Gere movie Breathless, while Quentin Tarantino’s cult hit Pulp Fiction included both ’Rumble’ and ‘Ace Of Spades’. Collaborations with nouveau rockabilly star Robert Gordon also kept him the public eye.

Link passed away in his adopted home of Copenhagen in November 2005, in demand as a live act to the very end. Rolling Stone listed him at 67 in their 100 Greatest Guitarists of All Time, citing him as the man behind ‘the most important D chord in history’. His influence cannot be underestimated on later acts as diverse as Adam and the Ants and the White Stripes, as well as British Invasion bands like the Kinks and Who.

Pete Townshend of the Who said: ‘If it hadn’t been for Link Wray and “Rumble” I would never have picked up the guitar’. With testimonies like that, Link’s place in the rock’n’roll pantheon is assured.
Not Now Music 2013 CD 6.00 €
Link Wray - Rumbling Guitar Sounds Of Link Wray 2LP
Not Now Music 2013 LP 25.00 €
Little Eva - Llllloco-Motion
Rumble Records 2012 LP 18.00 €
Lloyd Price - All Of Me
wo albums from 1961; "Sings the Million Sellers" / "Cookin''.

Features some very cool hipster orientated material with songs: 'It's Only a Paper Moon'; 'Frim Fram Sauce' & 'Summertime' have been reconstructed perfectly to fit Lloyd's bluesy voice.

Also included are a further nine tracks from the 1959 LP 'Mr Personality' not featured on our first package plus fully detailed liner notes.
Jasmine Records 2013 CD 13.00 €
Lloyd Price - Talking About Love
We pick up the Lloyd Price story where our successful first volume, 'Restless Heart' - JASCD 552 left off.

This package features the two albums, 'Mr Personality Sings the Blues' and 'The Fantastic Lloyd Price' both in glorious stereo along with six bonus tracks from the 1959 LP, 'The Exciting Lloyd Price'.

Wonderful renditions of blues classics such as, Percy Mayfield's 'Please Send Me Someone To Love', Eddie 'Cleanhead' Vinson's, 'Kidney Stew', Little Willie John's, 'Talk To Me' & Paul Perryman's 'Just To Hold Your Hand' take Lloyd back to his roots, whilst standards like, 'Jeepers Creepers' & 'Five Foot Two' lend an extra string to his bow.

Fully detailed liner notes.
Jasmine Records 2013 CD 12.00 €
Louvin Brothers - The Christian Life -The Definitive Louvin Brothers Story 4CD
Proper Records 2013 CD-Box 20.00 €
Lowell Fulson - Trouble, Trouble 3CD
Lowell Fulson is not just a bluesman, he is a historic link between the blues of the 1930s and the blues-singing guitarists of the 1950s. In the late 1930s, he travelled with Texas Alexander, a bluesman who didn’t play an instrument, gaining inspiration from him for “River Blues”. A contemporary of T-Bone Walker, he helped to formulate the style of single-string soloing that became de rigueur for the likes of B.B. King, Pee Wee Crayton, Clarence “Gatemouth” Brown and Albert Collins. A native Oklahoman, he nevertheless became associated with West Coast blues, with a series of 1940s hits, among them “Three O’Clock Blues” (which he passed on to B.B. King), “Everyday I Have The Blues”, “Blue Shadows” and the two-part “Lonesome Christmas”.

From his 1946 debut for Big Town, he was a prolific recorder. In 1954 he scored for Checker with “Reconsider Baby”, which was later covered by Elvis Presley, and he continued to record for Kent and Jewel into the 1970s. His songs were always well-constructed and literate and sung with intimate precision. His guitar-playing was accomplished without indulging the excesses of some of his fellow instrumentalists.

Compiled by blues authority and producer Neil Slaven, Trouble, Trouble covers Lowell Fulson’s recording career from his 1946 debut for Big Town, to his fifties and sixties sessions for Checker, via his many recordings for Down Beat and Swing Time as well as sides released on Scotty’s Radio, Trilon, Aladdin and Cava-Tone. Featuring his first nine R&B Hits, Trouble, Trouble is the definitive collection of the formative years of the influential singer, guitarist and songwriter, before his mid-sixties crossover into the pop charts, which peaked with “Tramp” in 1967.
Fantastic Voyage 2013 CD 18.00 €
Magic Sam - Live At The Avant Garde June 22, 1968
Delmark Records 2013 CD 17.00 €
Mamas & The Papas - Cass John Michelle Dennie
In their brief but eventful reign as one of America’s hippest and most popular recording acts, the Mamas and the Papas—Denny Doherty, Cass Elliot, Michelle Phillips and main songwriter/sonic architect John Phillips—created a uniquely captivating brand of smart, harmony-laden pop that was consistently inventive and innovative, yet effortlessly commercial.

Although their hitmaking heyday lasted less than three years, these trendsetting California dreamers left a long-lasting mark on popular music, releasing a series of hit singles and classic albums that remain deeply ingrained in the pop-culture consciousness four and a half decades later. Now, Sundazed Music brings the Mamas and the Papas’ much-requested, long-out-of-print second and third albums back to the marketplace in LP and CD editions that preserve their timeless brilliance for the ages.

These beloved ‘60s classics have been lovingly restored by Sundazed Music to their original glory, on 180 gram vinyl LP as well as pristine Compact Disc. In both formats, these definitive editions faithfully reproduce the album’s iconic original cover art, while careful mastering from the original reels guarantees that they’ve never sounded better than they do here.

Released in the fall of 1966, the Mamas and the Papas’ self-titled second album remains one of the foursome’s most enduring and popular releases, and contains some of the most appealing and accomplished music that they ever produced. Along with the infectious hits “I Saw Her Again” and “Words of Love,” The Mamas and the Papas features such John Phillips-penned favorites as “No Salt On Her Tail,” “Dancing Bear” and “Trip, Stumble and Fall,” along with distinctive covers of Martha and the Vandellas’ Motown anthem “Dancing in the Street” and the Rodgers and Hart standard “My Heart Stood Still.”
Sundazed Music 2013 LP 19.00 €
Mamas & The Papas - Cass John Michelle Dennie
Mono Edition!

In their brief but eventful reign as one of America’s hippest and most popular recording acts, the Mamas and the Papas—Denny Doherty, Cass Elliot, Michelle Phillips and main songwriter/sonic architect John Phillips—created a uniquely captivating brand of smart, harmony-laden pop that was consistently inventive and innovative, yet effortlessly commercial.

Although their hitmaking heyday lasted less than three years, these trendsetting California dreamers left a long-lasting mark on popular music, releasing a series of hit singles and classic albums that remain deeply ingrained in the pop-culture consciousness four and a half decades later. Now, Sundazed Music brings the Mamas and the Papas’ much-requested, long-out-of-print second and third albums back to the marketplace in LP and CD editions that preserve their timeless brilliance for the ages.

These beloved ‘60s classics have been lovingly restored by Sundazed Music to their original glory, on 180 gram vinyl LP as well as pristine Compact Disc. In both formats, these definitive editions faithfully reproduce the album’s iconic original cover art, while careful mastering from the original reels guarantees that they’ve never sounded better than they do here.

Released in the fall of 1966, the Mamas and the Papas’ self-titled second album remains one of the foursome’s most enduring and popular releases, and contains some of the most appealing and accomplished music that they ever produced. Along with the infectious hits “I Saw Her Again” and “Words of Love,” The Mamas and the Papas features such John Phillips-penned favorites as “No Salt On Her Tail,” “Dancing Bear” and “Trip, Stumble and Fall,” along with distinctive covers of Martha and the Vandellas’ Motown anthem “Dancing in the Street” and the Rodgers and Hart standard “My Heart Stood Still.”
Sundazed Music 2013 CD 15.00 €
Mamas & The Papas - The Mamas & Papas Deliver
Stereo Edition!

In their brief but eventful reign as one of America’s hippest and most popular recording acts, the Mamas and the Papas—Denny Doherty, Cass Elliot, Michelle Phillips and main songwriter/sonic architect John Phillips—created a uniquely captivating brand of smart, harmony-laden pop that was consistently inventive and innovative, yet effortlessly commercial.

Although their hitmaking heyday lasted less than three years, these trendsetting California dreamers left a long-lasting mark on popular music, releasing a series of hit singles and classic albums that remain deeply ingrained in the pop-culture consciousness four and a half decades later. Now, Sundazed Music brings the Mamas and the Papas’ much-requested, long-out-of-print second and third albums back to the marketplace in LP and CD editions that preserve their timeless brilliance for the ages.

These beloved ‘60s classics have been lovingly restored by Sundazed Music to their original glory, on 180 gram vinyl LP as well as pristine Compact Disc. In both formats, these definitive editions faithfully reproduce the album’s iconic original cover art, while careful mastering from the original reels guarantees that they’ve never sounded better than they do here.

Released in early 1967, the group’s third longplayer Deliver is one of the Mamas and the Papas’ essential works, and an exquisitely engaging expression of the group’s singular pop artistry. The album produced a pair of Top Five singles in the amusingly autobiographical “Creeque Alley” and the quartet’s transcendent reading of “Dedicated to the One I Love,” previously recorded by the “5” Royales and the Shirelles. Other highlights include the much-loved originals “Look Through My Window” and “Boys & Girls Together,” and reworkings of the Smokey Robinson-penned Temptations classic “My Girl” and the Beatles/Isley Brothers hit “Twist and Shout.”
Sundazed Music 2013 LP 19.00 €
Margie Singleton - Pledging My Love
Probably no one was in the recording studio more than Margie Singleton from 1955-1965. Her husband, Shelby, was head of A&R for Mercury Records and brought her onto sessions for his complete roster: pop, R&B, and country. She also made records herself, first for Starday, then Mercury, and then United Artists, before she and her second husband, Leon Ashley, began Ashley Records with a #1 hit, Laura (What's He Got That I Ain't Got). The untold story of Margie Singleton is here. She might just have been one of the most versatile women in music at that time. A natural singer, Margie sang on plenty of hits but didn't have the hits that should have been hers. Hers is one of the untold stories that Bear Family tells so well.
Bear Family 2013 CD 17.00 €
Martha And The Vandellas - Dance Party
Universal Music Japan 2013 CD 15.00 €
Marv Johnson - You Got What It Takes 2CD
The First Three Albums Plus Bonus Singles

The Most comprehensive collection of Marv Johnson's early work ever released.

Comprises all of his international chart hits and three complete original albums plus both sides of many of his singles released from 1958-1961.

Hits include: 'You've got What It Takes', 'Come to Me', 'I Love The Way You Love' and '(You've Got To) Move Two Mountains'.

Crammed full of songs written by Berry Gordy, a must for all Motown collectors!

Fully detailed liner notes.
Jasmine Records 2014 CD 15.00 €
Marvelettes - Detroit's Darlings 1961-1962
The Marvelettes were Tamla Motown's first great female group predating The Supremes and The Vandellas by several years.

Here we have their first three LPs, Please Mr Postman; Smash Hits and Playboy which funnily enough include a hit about begging a postman for a letter, 'Playboy' and 'Beechwood 4-5789'.

This is Motown magic from the label's early days!

Fully detailed liner notes with career achievements and history.
Jasmine Records 2013 CD 13.00 €
Marvelettes - Playboy
By the time Playboy was released in July 1962, it was the third Marvelettes album in just eight months, althoughboth of the predecessors had struggled for acceptance.Playboy is a much more consistent album than Please Mr Postman, despite lacking that number one smash,and unlike Smash Hits of 62 features an abundance of material written with the group in mind, such as Playboy,Beechwood 4-5789 and Someday Someway.Whilst the achievements of The Marvelettes would eventually be surpassed by The Supremes, this album showsthey were worthy of their lofty mantle in 1962 - Motowns first breakthrough act.
Hallmark Music 2013 CD 6.00 €
Mary Wells - Bye Bye Baby
Jasmine is proud to present the first lady of Motown, Mary Wells with this wonderful compilation of sublime early Motown hits and recordings.

Features 1961's 'Bye, Bye Baby/I Don't Want to Take a Chance' and 1962's 'The One Who Really Loves You' and four bonus singles which include the R&B No. 1 'Two Lovers'.

Other hits include: 'Bye Bye Baby'; 'The One Who Really Knows' and 'You Beat Me to the Punch'.

These recordings led The Beatles to invite her onto their first US tour and a few years later inspired the early beat groups that led to the British invasion.
Jasmine Records 2013 CD 12.00 €
Mary Wells - Bye Bye Baby - I Don't want to take a Chance
originally released 1963
Rumble Records 2013 LP 18.00 €
Mary Wells - Sings My Guy
originally issued 1964
Motown Record Corp 2013 LP 25.00 €
Masaaki Hirao And His All Stars Wagon - Nippon Rock 'n' Roll - The Birth Of Japanese Rokabirii
“Nippon Rock’n’Roll” documents the rise of Masaaki Hirao. Dubbed “The Japanese Elvis”, Hirao was one of the famed Rokabirii Sannin Otoko (Three Rockabillies), alongside singers Mickey Curtis and “Kei-chan”, Keijiro Yamashita. In early 1958, the rokabirii buumu (rockabilly boom) was born, the first youth music tribe in the Land Of The Rising Sun.

Rokabirii may resemble US rockabilly, but this Nipponese version is a more varied dish. Hirao and his band’s covers of Eddie Cochran, Elvis Presley and Little Richard are not kitsch renditions, but raw, desperate rockers. Hear a Paul Anka makeover, but put through a rocking mangle; a smattering of jazz; a twist of New Orleans; and some Japanese folk songs with a greased-down quiff. American occupation a distant memory, these boys wanted to party.

Country and hillbilly music was a mainstay of young Japanese musicians working the GI base and jazz café circuit of the 1950s. Following the runaway success of a Japanese cover of ‘Heartbreak Hotel’ (Hirao’s version here has dynamite in its teeth), demand grew for more of this strange, new music. The need was met with a huge gala, the Nichigeki Western Carnival, which showcased the new rokabirii groups to thousands of screaming Japanese teenagers. Wild footage of the concerts, alongside that of burgeoning radical student movements, put fear of a wave of delinquency into the heart of the establishment.

The studio numbers here are hardboiled, with unkempt live recordings that really rock. Tough drums back up honking sax, in a pedal steel pandemonium with slap bass. In the words of Elvis: these guys “get real gone”.

By Howard Williams (Ace Records)
Ace Records 2013 CD 18.00 €
Mel Taylor And The Magics - In Action

Tracks 4 and 11 were composed by Danny Hamilton who collaborated a number of times with The Ventures during this time period. Track 10 was also recorded by The Ventures and was written by Don Wilson, Mel Taylor, Bob Bogle and Nokie Edwards. Gerry Woodage, the late UK fan-club President, used the nickname "The Creeper"!
Warner Music Group Company 2013 CD 15.00 €
Merle Haggard - The Complete '60s Capitol Singles
Merle Haggard is a household name, one of the best-known country music singers of all time. He is a member of the Country Music Hall of Fame, and the awards, honors, and accolades in his long career are too numerous to list. Haggard is simply one of the greatest country music stars in the history of the genre.

From “Swinging Doors” in 1965 until the end of the decade, Haggard had an incredible string of hit records. “The Fugitive” (b/w “Someone Told My Story”) was his first #1 single, and was a composition by Liz Anderson, Lynn Anderson’s mother. “I Threw Away The Rose” b/w “Loneliness Is Eating Me Alive” went to #2 on the charts in late 1966. “Branded Man” went to #1, and was backed by a remake of an earlier Tally number (co-written by Joe “Red” Simpson), “You Don’t Have Very Far To Go.” “Sing Me Back Home” b/w “Good Times” was another #1 smash, in the fall of 1967. “The Legend Of Bonnie And Clyde” b/w “I Started Loving You Again” was yet another chart topper.

As told in an interview with the collection’s liner notes author, Haggard wrote “Workin’ Man Blues” because he “needed my own ‘Folsom Prison Blues,’ I needed a song that would express my way of life—I wanted it to be a blues song, and I wanted it to be in the key of A.” Astute musicians will note that the song was originally recorded in the key of A flat, but regardless, “Workin’ Man Blues” became a blue-collar anthem, and is still one of his most popular songs. When the song was released in June 1969, backed with “Silver Wings,” it again topped the chart at #1.

This collection closes with Merle Haggard’s final single of the 1960s: “Okie From Muskogee.” The song drew strong reactions as Haggard and The Strangers were testing it out on audiences before recording it, and according to pedal steel guitarist Norm Hamlet (Strangers 1967-present), “The first time we played it, the audience just went crazy. We knew it was going to be huge.” The single was indeed another #1 smash, but it was also something else entirely. It was the song that would change Merle Haggard’s career.
Omnivore Recordings 2013 CD 19.00 €
Mike Pedicin - Burnt Toast And Black Coffee
Great Bill Haley Styled Early Rock & Roll from Philadelphia. Including the Hits.

Completely different to Bear Family CD. 29 songs & 20 page booklet
Hydra Records 2013 CD 15.00 €
Miles Davis - Sketches Of Spain
originally released 1960 by Columbia Records
Music On Vinyl Records 2013 LP 20.00 €
Milt Jackson & Ray Charles - Soul Brothers
Vinylogy 2013 LP 15.00 €
Miracles with Smokey Robinson - You Can Depend On Them 1959-1962 2CD

The first three albums by The Miracles plus all the 45s released through to 1962 in one package representing the beginning of one of the greatest and most influential groups in history.

Among the many great tracks this superb 2CD set features, 'Who's Lovin' You' which is now one of the group's most famous songs after being recorded by The Jackson Five and is now becoming a staple track for American Idol contestants. Plus let us not forget 'You Really Got a Hold on Me' which of course The Beatles recorded the following year on their second LP.

Fully detailed liner notes.
Jasmine Records 2013 CD 15.00 €
Mouse And The Traps - Fraternity Years
Mouse & the Traps are known principally for their “Nuggets” classic ‘A Public Execution’, a Dylan cop so brazenly authentic it even had the hallowed bard’s promo men fooled. Based in the city of Tyler, Texas and evolving from a group of pickers who populated Robin Hood Brians’ recording studio, Mouse (Ronnie Weiss) and his band ruled the region in the latter half of the 60s.

The Traps made a name for themselves not only with some incendiary performances but several regional hits, with ‘Execution’ making the national charts in 1966. Signed to the venerable Cincinnati indie Fraternity, for whom they were to cut a dozen singles, for years there were rumours amongst collectors that a Mouse & the Traps LP existed on the label. There never was, but now Big Beat has decided to condense the contents of their well-received Mouse & the Traps CD anthology “The Fraternity Years” into one all-killer vinyl edition.

It’s the kind of power-packed set fans would have hoped for back in the day, as the record showcases the band’s two very different but nevertheless compatible sides. On stage they were known for a tight and rocking showmanship, yet in the studio they expertly crafted folk-rock and pop gems with a deft production touch from Brians that oozed commercial appeal.

Each single release coupled speaker-shredders such as ‘Maid Of Sugar’ and ‘Lie, Beg, Borrow And Steal’, with radio-friendly items such as ‘Like I Know You Do’, ‘Cryin’ Inside’ and an almost-but-not-quite smash in ‘Sometimes You Just Can’t Win’ (as a bonus, it is featured here in a rare and previously unissued incarnation from late 1966, before being sweetened for eventual release).

Now, the best of the band’s recorded output has been newly remastered for wax. With such a precise distillation of their recorded legacy, the world can once again marvel at the quality and consistency that seemed to come naturally to Mouse & the Traps. “The Fraternity Years” LP is a fitting tribute to these fine musicians.

By Alec Palao (Ace Records)
Ace Records 2013 LP 25.00 €
Muddy Waters - More Real Folk Blues
This is Muddy in his younger years, recorded on several dates spanning 1948-1952 at what were probably his first amplified sessions. Great tracks include the scorching "She's Alright", "Kind Hearted Woman" and "Honey Bee". More Real Folk Blues (originally released in 1967 on the famed Chess Records) is an essential early Muddy Waters compilation for Chicago Blues fans.

As the liner notes by Crawdaddy Magazine's Paul Williams state: 'Listening to Muddy Waters is as simple as forgetting your zip code; you just relax your mind, let go of the little things and let the blues come through, clean and easy. When Muddy sings, you feel the blues, and you feel the joy that goes with them.'
Music On Vinyl 2013 LP 22.00 €
Muddy Waters - You Shook Me 2CD
The Chess Masters Vol. 3 1958-1963.

Six years after the last set of Muddy Waters’ Chess recordings by Hip-O Select, the boutique label will release You Shook Me: The Chess Masters Volume 3 1958-1963 next week.

While Waters’ profile was well on the rise before the period covered on this two-disc set – having put singles like “I’m Your Hoochie Coochie Man,” “I Just Want to Make Love to You” and “Mannish Boy” in the upper reaches of the R&B charts – You Shook Me is notable for being anchored not only around single releases but two of Waters’ first LPs. 1960′s Muddy Waters Sings “Big Bill” was a tribute to Big Bill Broonzy, the Chicago bluesman who gave Waters one of his first major professional breaks opening for him at local clubs. The other, recorded that same year, was Muddy Waters at Newport 1960, a killer of a live album that featured revelatory versions of “Hoochie Coochie Man” and “Got My Mojo Workin.’”

This 49-track set also includes one unreleased instrumental, “Sweet Black Angel,” and a handful of songs that appeared only on a multi-LP box set of Waters’ Chess output released in Japan. Mary Katherin Aldin pens liner notes for the booklet, which is filled with rare photos of Waters in action.
Universal Music 2012 2-CD 40.00 €
Nathan Abshire - Master Of The Cajun Accordion
After some 20 years, Ace Records’ Nathan Abshire 2 LPs-on-1 CD has been totally revamped by John Broven. With stunning new mastering, the track sequencing better reflects the recording chronology in the distinct periods with the Pine Grove Boys and then the Balfa Brothers, with the addition of ‘French Blues’ to complete the Swallow output. The now-sumptuous booklet features an essay by Lyle Ferbrache based on his original research with members and families of Abshire’s Pine Grove Boys; a comprehensive song analysis with sterling contributions from Ann Savoy and Neal Pomea; a first-ever attempt at a discography with personnel; many vintage photographs; and LP and label scans. The end result is one of the most listenable and enjoyable Cajun CD releases ever, by one of the music’s most revered musicians.

Lyle Ferbrache on his landmark research on Nathan Abshire’s Pine Grove Boys:

During my first visit to Louisiana in 1987, the Tower record store in New Orleans had just opened and I bought a handful of Swallow 45s. The one that stood out was Nathan Abshire and his Pine Grove Boys performing ‘Offshore Blues’ with Thomas Langley vocalising. I liked the record so much I bought 10 copies from Floyd’s record shop in Ville Platte and gave them to friends. Who was this band? In the period that followed I bought various artists Cajun LPs and was always frustrated by the lack of comprehensive liner notes – this was in the pre-Internet days.

By this time Cajun music had really gotten a hold on me. I was so fascinated by the sound of the music I sold my near-complete collection of Excello records and went on a Cajun buying spree. I started going to Louisiana more often and soon tracked down the only surviving member of the original band, Ernest Thibodeaux, along with Bernella Frugé, wife of the band’s first steel guitarist, Atlas Frugé. With their help I was able to piece together the early history of the band … but there was nothing on Thomas Langley. The more musicians I met, the more convinced I was that I had made the right decision to concentrate on Cajun music.

My quest to research the poorly documented recording information on Nathan Abshire and his Pine Grove Boys led me to publish the magazine Louisiana Music with Andrew Brown in 2010. For the first time, accurate recording and personnel information had been accounted for. But the story only took in the band’s early years at O.T., Hot Rod and Khoury’s from 1949 through 1958. My next mission was to do the same research for the Kajun and Swallow recordings of the 1960s and 70s. My big break came when I obtained the phone number of Helen Langley, Thomas’ wife. I was saddened to learn that I was a little too late; Thomas had died a few months before. Fortunately, Helen was a big fan of the Pine Grove Boys and had most of the important information I needed to complete the band’s history. Over the years of doing interviews with her I was able to understand the band and its members, from their time recording for J.D. Miller’s Kajun label in Crowley to their final recordings at Swallow Records with Floyd Soileau in Ville Platte.

I am very proud of Ace for taking on this historically important project and giving it the respect it deserves.
Ace Records 2013 CD 18.00 €
Neal Ford & The Fanatics - Good Men
In mid-60s America, every major city had at least one rock’n’roll band that ruled the town. Such top-dogs enjoyed a rabidly partisan audience that packed the teen centres, populated the fan clubs and pushed their records to the top of the local charts. In the major metropolis of Houston,Texas, that group was Neal Ford & the Fanatics.

Led by Ford and featuring talented writers Lanier Greig, Jon Pereles and Johnny Stringfellow, the Fanatics ruled the roost at Houston clubs such as the Catacombs and, once they signed to Nashville indie Hickory in late 1966, seemed destined for national stardom. History has identified such local kingpins as garage bands, simply because of their grass roots appeal. But the Fanatics were a well-oiled professional machine, capable of putting on a memorable show and backing it up with vocals and chops that raised the band far above the calibre of the suburban hop or teen club. Despite the British elements to their music – Kinks chording, Zombies moodiness – theirs was very much an American sound. Lead vocalist Neal Ford had a professed love for vintage rock and R&B, but the group’s real strength vocally was the three-part harmony of Ford, Pereles and bass player Dub Johnson. When allied to the classic organ and fuzz-driven “Vox” sound of the group, it was an unbeatable combination.

Texas has a well-deserved reputation for some of the most acerbic 60s rock on record, but the state also produced a fair tranche of acts such asDallas’ Five Americans who excelled in the commercial pop of the time. The Fanatics straddled the fence. Their songwriting and playing abilities alone made them somewhat above-average, but the band was also willing to experiment. Some of this slipped out – ‘I Will Not Be Lonely’ is one of the earliest British-influenced Texan garage discs, and their Yardbirds-psych opus ‘I Will If You Want To’ seems in hindsight to have been an audacious move. But once they became regionally successful with ‘Gonna Be My Girl’ and a much more lightweight formula, the group’s releases stopped representing anything more than the commercial dictates of the record company.

Thus the standing of Neal Ford & the Fanatics for many years largely resided within the rosy glow of Houston nostalgia, but the truth is that, buried in tape vaults, record company archives and the personal stash of their former manager, lies enough evidence to demonstrate that in the studio, the Fanatics could more than match their repute as a live act.

“Good Men” is a long-overdue survey of their best recorded moments, and runs the gamut from expertly produced and performed commercial pop and folk-rock to freaky psychedelic experiment and the gnarliest of 60s punk. It features several of the Fanatics’ popular singles for Hickory, cuts from their lone album for the label, as well as fantastic earlier sides released on the Houston indies Gina and Tantara. Every track is drawn from master tape, well over half have never appeared on compact disc before, and several are unissued killers that add immeasurably to the group’s reputation.

By Alec Palao (Ace Records)
Ace Records 2013 CD 18.00 €
Nina Simone - Deluxe - The Anthology Collection 3CD
Music Brokers 2013 2-CD 15.00 €
NOW DIG THIS NO. 372 - March 2014
The A - Z of Gene Vincent's Blue Caps Part 1 • Killer Quillers - Mae Boren Axton • Jerry Lee Lewis - Adding To The Understanding • Rockin' In Chicago Before 1965 - Art Fein remembers • The Story of Gene Barge Part 1 • The Master-Tones - Doc Robinson interviewed • plus CD reviews, Scene Alive, Gig Guide etc
Now Dig This 2014 Lehdet 8.00 €
Otis Redding - The Complete Stax / Volt Singles Collection 3CD
Every Stax, Volt & Atco 45s. 70 tracks on 3 CDs including hits and B-sides in its original, speaker-rattling mono mix, many on CD for the first time.
Shout 2013 CD-Box 50.00 €
Otis Spann - Sweet Giant Of The Blues
When producer Bob Thiele launched Flying Dutchman Records in 1969, he also introduced two other imprints to give his new company depth and breadth: Amsterdam for pop material and Bluestime to concentrate on the developing blues boom. Thiele had been in charge of ABC’s Bluesway label, where he had made records with many vintage blues artists. He opened Bluestime with albums by three of those performers: “The Real Boss Of The Blues” by Joe Turner, “Sweet Giant Of The Blues” by Otis Spann and “Every Day I Have The Blues” by T-Bone Walker.

Genial piano player Otis Spann had been a key member of Muddy Waters’ band. Born in Jackson, Mississippi, Spann moved to Chicago in the mid-40s, working as a plasterer by day and immersing himself in the city’s vibrant music scene by night. Muddy Waters wasn’t looking for a piano player but liked Spann so much he agreed to take him on. Over the next few years Spann played on some of Waters’ best-loved records, including ‘Got My Mojo Working’ and ‘I Just Want To Make Love To You’, also adding his unique style to recordings by Sonny Boy Williamson, Little Walter and Chuck Berry.

It was this heritage which made Spann a respected figure amongst blues revivalists. Leaving Waters’ group in 1968, he made a flurry of recordings, including an album with Fleetwood Mac as his backing band. It was at this point Bob Thiele invited him to record for Bluestime. In addition to a version of ‘Got My Mojo Working’, his “Sweet Giant Of The Blues” album was largely made up of Spann’s own songs. His playing was as fine as ever and his voice was in good form. Unfortunately, his health had been compromised by years of alcohol abuse and he died a few months later aged just 40.

By Dean Rudland (Ace Records)
Ace Records 2014 CD 14.00 €
Paul Anka - Dinacally Yours
Bear Family 2013 CD 17.00 €
Paul Anka - You, The Night And The Music 2CD
four of his original albums released between 1960 and 1962: Anka at the Copa; Diana; Let's Sit This One Out and Young Alive and in Love.

Kicking off with, Live at the Copa which is a tour de force of dynamic proportions. Paul Anka delivers a breakneck medley of greatest hits with only '(All Of A Sudden) My Heart Sings' and 'My Home Town' getting the full treatment. This is certainly one of the all-time great live albums.

Also featured throughout this wonderful 2CD set are hits such as 'Diana' (can you have a Paul Anka set without it?), live renditions and impeccable versions of standards; why there are even some great festive tracks thrown in to boot!
Jasmine Records 2013 CD 15.00 €
Paul Evans - Folks Songs Of Many Lands / 21 Years In A Tennessee Jail
First time on CD for these rare albums recorded during the US folk boom of the early 1960s.

I grew up listening to popular music with my family, singing folk songs at hootenannies and learning to love country music by listening with my buddies to Barkin With Larkin, an AM country radio show. For my high school variety shows, I chose two Caribbean folk songs made popular by Harry Belafonte. But those loves of my life were only the beginning for me. It was the southern rockabilly artists that had me running to the Brill Building, the pop music Mecca in the heart of New York City. That musical trichotomy – folk, country and pop – has haunted me my whole recording career long.

My professional musical life began when I was a student at Columbia University, where I hosted a folk song show on the campus radio station. My first hits were on the Guaranteed label. Unfortunately its parent company, Carlton Records, couldn’t quite figure out what to do with me after those hits. They released two wildly different LPs simultaneously in 1961: “Hear Paul Evans In Your Home Tonight” (a collection of my hits and some pop covers) and “Folk Songs Of Many Lands”, my pride and joy folk album.

“Folk Songs Of Many Lands” was recorded at Associated Recording Studios in New York City over the course of a month. The musicians were my studio regulars: Buddy Salzman (drums), Charlie Macy, Al Gorgoni and Everett Barksdale (guitars), Dick Romoff (bass), Frank Owens and Leroy Glover (piano).

I was invited to perform my folk repertoire at St Thomas University, a Roman Catholic liberal arts university in New Brunswick,Canada. The students were predominantly Irish by their reaction. They went wild for ‘Wearing Of The Green’ and ‘Kevin Barry’, and, I think, forgave me for singing ‘British Grenadiers’.

In 1962 I found a spot recording for a man who had started out his music business career selling records from the back of his car and had risen to become one of music business’ most respected figures, Dave Kapp. Like Carlton, Kapp Records was one of the bigger independent labels in New York and had enjoyed many hits by Roger Williams, Jane Morgan, Jerry Keller, Brian Hyland and Jack Jones.

When I met Dave, he told me my recording career had slipped because I was too vocally versatile. We had to find one style and stick to it. So what did they do? They released six pop singles and one country/folk LP. That album was “21 Years In A Tennessee Jail” in 1963. Kapp’s executives respected my album, but thought the title and artwork were holding back sales. So they re-released it some three years later with a new title, “Another Town – Another Jail”, and new cover artwork. An album of prison songs was the label’s idea, but the song choices were mine.

The Kapp album shares many things with “Folk Songs Of Many Lands”: many of the same musicians, the same studio, the same recording technique and, most importantly, the folky quality of the country material. The songs are either traditional: ‘Betty And Dupree’s Blues’, ‘Columbus Stockade Blues’, ‘John Hardy’, or written in the traditional style: ‘Another Town – Another Jail’ (penned by Jack Reardon and me), ‘I Got Stripes’, ‘Allen town Jail’.

For this first-time reissue of these two LPs, as a bonus Ace has added my 1960 hit, ‘Midnite Special’. It is a Southern folk song based on aTexasjail legend that said if the light of the Midnight Special train shined into your cell at the stroke of midnight, you’d be freed.

By Paul Evans (Ace Records)
Ace Records 2013 CD 20.00 €
Peter, Paul & Mary - If I Had A Hammer - The Legend Begins
Vinyl Passion 2013 LP 13.00 €
Pipeline # 89 - Summer 2012
Pipeline 2012 Lehdet 6.00 €
Pipeline # 91 - Spring 2013
Pipeline Magazine 2013 Lehdet 6.00 €
Pretty Things - Introducing The Pretty Things 2CD
Snapper Music 2013 CD 12.00 €
1 - 2 - 3 - 4 - 5 - 6
Rock and roll news

GOOFIN' RECORDS 30th Anniversary Party