Result of your query: 639 products
|Gene Simmons - I Done Told You
||Snappermusic 2010||CD||8.00 €
|Gene Vincent - I'm Back And I'm Proud
|RPM Retrodisc 2011||CD||17.00 €
|Gene Vincent - Race With The Devil 2CD
Gene Vincent, rockabilly’s dark prince, lived fast, died young and left a remarkable recorded legacy. Gathered here on 2CDs are Gene’s 50 greatest tunes
|Union Square Music 2012||2-CD||10.00 €
|George Jackson - Don't Count Me Out - The Fame Recordings Vol. 1
As a songwriter, George Jackson is a Southern soul giant. He is revered by artists and soul fans alike for his prolific output of high quality soul songs and he was at the peak of his powers during his tenure at the FAME studios from 1968 to 1972. Rick Hall, who owned FAME, knew that if a top soul artist was coming into the studio and some songs were needed, then George was the man.
He was valued so much as a songwriter that his career as a singer was sadly neglected, and only two George Jackson 45s were issued during his long association with FAME. Luckily for us, Rick Hall held on to a truckload of the other recordings George cut at FAME which have remained in the vaults until Tony Rounce, Dean Rudland and Alec Palao plucked them from the shelves for this terrific release and several future volumes.
I love George Jackson’s singing. His voice has a fragile vulnerability and, combined with his honest, no histrionics delivery, you genuinely believe that George lived the ups and downs of love and life that he writes about in these beautifully crafted Southern soul songs. And I’m not alone in appreciating George’s voice, when I asked songstress Dorothy Moore, she smiled and said “I love me some George Jackson”. George also remembers with pride getting complimented by Wilson Pickett on one of Pickett’s trips to FAME. “Wilson said to me ‘It’s from your heart’, [then] he told Rick Hall and Jerry Wexler ‘Y’all should cut a record on this guy, he’s great’.”
Some of these tracks were used for pitching the songs to the artists and as ‘guide’ tapes in the studio once chosen. Southern soul fans will recognise ‘I Can’t Leave Your Love Alone’ and ‘The Feeling Is Right’ released by Clarence Carter, ‘Search Your Heart’ and ‘Back In Your Arms’ recorded by the Wicked Pickett and Candi Staton’s funky ‘Evidence’. If you’re as completely obsessed as I am, you can listen to original by George and follow it up with the released version by the some of the best Southern soul artists of the day.
A personal favourite from George’s two Fame singles is the churning ‘Find ‘em, Fool ‘em and Forget ‘em’, so it’s a treat to hear George on an earlier, bluesy incarnation of that song here called ‘3-F Blues’. But best of all is the side which Kent have quite rightly used as the lead track of the CD, George’s own rendition of stunning deep ‘Search Your Heart’. To use that old cliché, it’s worth the price of the CD alone. The surprise of the CD is the quality of the songs that were not snapped up at the time. The emotive deep ‘Let’s Stop Hurting Each Other’ and the catchy uptempo ‘Stuck On Her’ are just two “shelved” sides that would have proudly graced any top soul album of the day.
These tracks are all high quality studio recordings that could (and should) have been issued at the time. So you could say that this is the delayed release of George Jackson’s debut Fame album, and as such is one of the most important Southern soul CDs of the year.
By Martin Goggin (Ace Records)
|Ace Records 2011||CD||17.00 €
|George Jackson - Let The Best Man Win - The Fame Recordings Vol. 2
||Ace Records 2012||CD||18.00 €
|George Jackson - Let The Best Man Win - The Fame Recordings Vol. 2
||Ace Records 2012||CD||18.00 €
|George Jackson - The Fame Sessions
Ah, the joy of vinyl – especially the new Ace Records high quality releases. The 180 gram test pressing landed on my desk with a thump and, once placed on the deck, the needle was placed on the first groove with a satisfying thrum. So you can only imagine how much better the experience got as the sound of Fame’s classic house band of David Hood, Jimmy Johnson, Barry Beckett and Roger Hawkins emerged from the speakers. They were behind George Jackson as he demonstrated the power of a new song he had written. Any fan of Southern Soul will know that ‘I’m Just A Prisoner’ became a classic for Candi Staton but, as we have proved time and again over the last few years, George Jackson was more than capable of delivering his own songs.
Mississippi-born, George had his first break in music working alongside Dan Greer at Goldwax Records in Memphis, writing songs and releasing a single in a duet with Dan. In 1967 he auditioned at Fame Studios in Muscle Shoals, where proprietor Rick Hall was looking to replace his top writer Dan Penn, who had moved to Memphis the previous year. In George, Rick found someone who not only wrote prolifically but could sing as well. As an artist, George released two singles on the Fame label and one more Fame-recorded side on Verve. However, it is quite likely that no-one wanted him to be too successful in that role, because his songs were far too important for Fame’s star artists and others who passed through the studio looking for some Muscle Shoals magic. In short order, he wrote hits for Candi Staton, Wilson Pickett, Clarence Carter and then turned out a #1 for the Osmonds.
However, George wrote more songs than he could place with other artists and he also recorded non-stop. Over two CD volumes we have showcased his Fame recordings and we are now proud to present you with his first ever vinyl album from these sessions. In the style of a classic late 60s or early 70s soul album, it features 12 stunning tracks, two of which are (for now) exclusive to this release. It’s difficult to pick out favourites but I have a lot of time for ‘I Bit Off More Than I Can Chew’ (which we’ve discovered was written with James Govan in mind) and ‘Get It When I Want It’, another track written for Candi Staton. Of the new tracks, ‘Add A Little Sunshine’ and ‘That From The Heart’ are more than worthy additions to the George Jackson canon.
By Dean Rudland (Ace Records)
|Ace Records 2013||LP||23.00 €
|George Jones - Heartbreak Hotel - Gonna Shake This Shack Tonight
1-CD DigiPac (4-plated) with 48-spage booklet, 35 tracks. Playing time approx. 82 mns. - The greatest singer in country music history is renowned for ballads, but throughout his early career, he recorded rockin' songs... even a little rockabilly! This is the first anthology of Jones' rocking side! Includes extremely rare recordings, unreissued on CD or LP! Also includes the #1 country hits 'Why Baby Why' and 'White Lightnin''! - At 81, George Jones has enjoyed the status of world's greatest living country singer for more than half-century. Much of that reputation is rooted in raw, emotional ballads, such as 'He Stopped Loving Here Today', 'The Grand Tour', 'Walk Through This World With Me', 'She Thinks I Still Care', and 'Tender Years'. But that's only one part of the story. Jones was no less masterful on hotter material starting with his first hit, 'Why Baby Why'. This collection includes that first hit as well as rarities, obscurities, and shoulda-been-hits like 'No Money In This Deal', 'Too Much Water', 'Tall Tall Trees' (written by Roger Miller and later a #1 hit for Alan Jackson), 'Nothing Can Stop Me' and 'That's The Way I Feel', 'Revenooer Man' (written by Donny Young, aka Johnny Paycheck), 'Who Shot Sam', and 'Sparkling Brown Eyes'. And then there's Jones' only major pop hit (and #1 country hit) 'White Lightnin'' (written by the Big Bopper). - There's more! Starday Records coerced Jones into recording several rockabilly classics under the name of Thumper Jones: 'Rock It' and 'How Come It'. Short of cash, Jones also covered other artists' hits for Starday's budget-priced series of Dixie EPs. These included 'Heartbreak Hotel' and Johnny Horton's 'I'm A One-Woman Man' (a 1988 hit when George re-recorded it for Epic). The wilder side of Jones's life is well known; this collection assembles 35 of his most aggressive performances from Starday and Mercury...many of them featuring the classic east Texas honky tonk sound. Plus, there's a rare radio spot from his Starday years, notes by Rich Kienzle, and a detailed discography.
|Bear Family 2011||CD||17.00 €
|George Jones - The Complete United Artists Solo Singles
32 A&B sides of Hardcore 60s Honky Tonk.
“Country music is like a religion to me!” George Jones once told liner notes author Holly George-Warren, and listening to this collection of the great singer’s United Artists singles from 1962-1966 will make a believer out of you. The diversity of material is astounding. You hear Jones master all the flavors of vintage country: lovelorn ballads, inspirational gospel, uptempo honky-tonk, humorous novelty numbers, old-timey murder ballads—even holiday and Western songs.
United Artists was the third home for George Jones’ output since his 1954 debut on the Starday label in his native Texas. His manager and producer Harold “Pappy” Daily signed him to United Artists (UA) following a stint at Mercury, where he scored his first #1 hit, “White Lightning,” in 1959, followed by 1961’s “Tender Years.” Most of the UA recordings transpired in Nashville, with Jones backed by Music City’s A-team: guitarist Grady Martin, bassist Bob Moore, drummer Buddy Harman, pianist Pig Robbins, and Hal Rugg on steel guitar, Tommy Jackson on fiddle, and Kelso Herston on electric 6-string bass. The Jordanaires provided the background choruses, part of the Nashville Sound that Jones adopted for his hardcore country.
Right out of the box at UA, Jones hit the jackpot again with his third chart-topper, “She Thinks I Still Care” backed with the gorgeous ballad, “Sometimes You Just Can’t Win,” also a hit. Both sides of the plaintive single pointed the way to the kind of material that in Jones’ hands would become his signature style, leading to such landmark recordings as 1980’s “He Stopped Loving Her Today.”
“She Thinks I Still Care” almost didn’t get cut, however. It was penned by Dickey Lee, the Texas songwriter whose “Patches” would be a smash for Clarence Carter in 1970. Songwriter and producer Jack Clement, who’d left Memphis’ Sun Records behind to operate Gulf Coast Recording Studio in Beaumont, Texas, pitched it to Jones. But it wasn’t an easy sale for Clement, whose publishing company handled the song. George told him, “I don’t think I like it too much. It’s got too damn many ‘just becauses’ in it. Clement tweaked it, making it a bit more country, according to Bob Allen, who recounts the story in his 1984 Jones biography. “After [Clement] agreed to relinquish half the publishing royalties to George and the hard-bargaining Pappy Daily, George finally relented and recorded it,” writes Allen. Soon after its release, “She Thinks I Still Care” lodged at the top of Billboard’s C&W chart for six weeks. By year’s end, the smash had been chosen 1962’s “Favorite Country Music Single” by the nation’s DJs in Billboard’s annual poll.
|Omnivore Recordings 2013||CD||19.00 €
|Georgie Fame - Mod Classics: 1964-1966
Georgie Fame, the Flamingo All-nighter, mods and GIs. These are the things that dreams are made of. Whilst a mid sixties Rod Stewart might have claimed that it was his ambition to sing with Count Basie, it was Georgie who actually did it. And whilst the Who and the Small Faces had a legion of moddy boy fans in the middle of the decade, it was Georgie who was championed by the Soho ace faces a couple of years earlier. Although the Fame monicker was the invention of Larry Parnes, it was the erstwhile Clive Powell who made it his own by taking a Jon Hendricks jazz song to the top of the UK jazz charts in 1964. Georgie had the hippest musical credentials and the ability to take jazz, soul and R&B to the top of the pop charts without compromising or selling out. Polydor Records has a wonderful “Beat Classics” CD available that covers Georgie’s biggest hits so we have devised our “Mod Classics” as an alternative view with only a little crossover with that release. We take in the period between early 1964 and late 1966 when Georgie’s records appeared on Columbia Records and he was backed on record by either the Blue Flames or the cream of the UK’s jazz musicians in the Harry South Big Band.
We have decided to pass by Georgie’s ska recordings as they are for another time and place, so we have filled the grooves with Georgie’s takes on soul, jazz and R&B hits. From his first LP “Live At The Flamingo” we have the band swinging their way through Oscar Brown’s ‘Work Song’ and ‘Parchman Farm’ whose composer, Mose Allison, was one of Georgie’s heroes and influences. By the time of his second album “Fame At Last” Georgie was tackling obscure records from the then unknown Stax label – William Bell’s ‘Monkeying Around’ – taking on Louis Jordan’s arrangement of ‘Point Of No Return’ and also numbers by Major Lance and Ray Charles. In each case he made each song his own, stamping his own vocal mark on each and every one. His next album was 1966s ‘Sweet Thing’ which featured less jazz and more soul, as Don Covay’s ‘See Saw’, the Spinners’ title track, cuts by Stevie Wonder, The Mar-Keys and Sam Cooke were all taken on. We’ve also included a version of Earl Van Dyke’s ‘Soul Stomp’ from around the same period that has only previously been released on a Japanese CD.
1966 saw a second album, “Sound Venture”, which is perhaps Georgie’s finest moment. Recorded with the Harry South Big Band, Georgie’s voice more than holds its own. On ‘Dawn Yawn’ Georgie writes a wonderfully evocative tale of Soho’s night-life and the inevitable come-down the day after, whilst his version of Willie Nelson’s ‘Funny How Time Slips Away’ is a masterpiece of vocal delivery, and the best version of this much-covered song bar none.
We have also rounded up EP cuts from Georgie Fame’s Fats domino tribute EP, some excellent cuts that were only on 45 such as ‘Yeah Yeah’’s B-side ‘Preach and Teach’, the B-side of Georgie’s second Columbia number one ‘Getaway’ a thunderous latin-tinged instrumental called ‘El Bandido’ which is a sure-fire dancefloor winner, and the self-penned single ‘Something’. We feel that a compilation like this was a must for many years and we are very glad that we are the ones to have done it.
By Dean Rudland
|Ace Records 2010||CD||17.00 €
|Gerry & The Pacemakers - Alle 40 Goed 2CD
2CD = 40 tracks
|Emi Netherlands 2012||CD||10.00 €
|Glenn Reeves - Johnny On The Spot
44-page booklet, 25 tracks. Playing time approx. 59 minutes. - The first and only compilation of music by an important but little-reissued singer and songwriter! Includes the original demo recording of Heartbreak Hotel, one of the most important recordings in rock 'n' roll! All eight singles by Glenn Reeves issued on TNT, Republic, Atco and Decca in the 1950s are included! Also here are six unissued 1950s recordings and a very rare single from the 1960s on the Envy label! There are rare photographs and interviews with Reeves's friends and family! The comprehensive booklet by Martin Hawkins covers all of Glenn's various careers as a singer, songwriter, disc jockey, TV star, music promoter and more! -- This CD is the first comprehensive look at the career of Glenn Reeves, a man who was at the heart of the emerging rock 'n' roll styles of the '50s, from western bop to early rockers to rocking ballads. Reeves was an excellent singer although he was eclipsed by the success of others - he recorded 'Heartbreak Hotel' first - and he was a successful songwriter: 'Honey Bop', 'Rockin' Country Style', and 'I Won't Be Rockin' Tonite'. But he was even more successful as a TV star on a syndicated show out of Florida in the '60s and as a promoter of massive outdoor country music events in the '70s. His part in the story of rock 'n' roll has been little-known but it is no less important for that, and now it is told in full in words, pictures, and especially in his rocking music.
|Bear Family 2011||CD||18.00 €
|Goodees - Condition Red ! The Complete Goodees
As 1968 drew to a close the golden age of girl groups had seemingly been and gone. The Shangri-Las, the Ronettes and the Chiffons hadn’t had a sniff of a hit record since 1966. Then along came the ominous ‘Condition Red’, a cleverly-produced psychodrama enacted by the Goodees, a trio of foxy teenagers from the roster of Stax Records’ small rock-oriented Hip offshoot. The group comprised childhood pals Sandra Jackson, Judy Williams and Kay Evans, all residents of the Sherwood Forest neighbourhood of East Memphis, Tennessee.
The group’s previous single, ‘For A Little While’, penned and produced by Stax’s top songwriting duo Isaac Hayes and David Porter, was one of the last sessions to feature the original Bar-Kays, who perished alongside Otis Redding in that fateful plane crash in December 1967.
Production duties then shifted to the Detroit-based team of Don Davis and Freddie Briggs, the brains behind ‘Condition Red’, which brilliantly re-cast the group as ladies in waiting to the Shangri-Las. The success of the single led to the release of the girls’ “Candy Coated..Goodees” LP, a mix of original material with covers of familiar numbers. To hear the lyrics of the Swingin’ Medallions’ ‘Double Shot’ sung by girls must have raised a few eyebrows at the time.
The Goodees’ third 45, ‘Jilted’, was another intriguing and complex number, but was there a market for a four-minute opus about a knocked-up teen dumped at the altar? That there wasn’t soon became apparent and this rich slab of Southern Gothic sank without trace. Their final single ‘Goodies’, written and produced by giants of Southern soul Dan Penn and Spooner Oldham, went the same way, just as the girls hung up their rock’n’roll shoes.
This collection contains every known recording the Goodees made, 18 of which are making their CD debut. In addition to the complete “Candy Coated..Goodees” album are four sides drawn from non-LP singles and seven previously unissued titles. ‘Show Me How’, ‘Last Of The Good Guys’, ‘Have You Ever Hurt The One You Love’ and the alternate version of ‘Didn’t Know Love Was So Good’ all emanate from the trio’s early Memphis sessions with Hayes and Porter. Produced by Penn and Oldham, ‘Angry Eyes’ and ‘Love Me Love’ were cut in Muscle Shoals, Alabama. The final track ‘Love Pill’, to the best of Sandra’s memory, was recorded as a demo at American Studios in Memphis. The set comes with a booklet featuring notes based on an exclusive interview with Sandra, illustrated with a host of rare memorabilia and gorgeous photographs from her collection.
By Mick Patrick (ACE Records)
|Ace Records 2010||CD||17.00 €
|Harry Belafonte - This Is Harry Belafonte - The Greatest Hits
||Sony Music 2010||CD||10.00 €
|Heartbeats - Daddy's Home 2CD
The Great Recordings of The Heartbeats/Shep and The Limelites
This is the first ever 2CD set to feature all the hits and recordings of The Heartbeats and Shep & The Limelites both of whom featured lead singer James Sheppard.
Includes their hits: 'Crazy for You', 'Darling How Long' and their big R&B seller 'A Thousand Miles Away'. Also featured is 'Daddy's Home' by Shep & The Limelites which was later revived as a major hit for Cliff Richard.
If you're a fan of silky smooth doo wop ballads then look no further that this superb collection. The dulcet tones of James Sheppard with The Heartbeats and Shep & The Limelites will have you singing and swaying along in no time!
|Jasmine Records 2012||CD||13.00 €
|Helen Shapiro - The Ultimate Helen Shapiro 3CD
||Emi 2011||2-CD||15.00 €
|Helen Shapiro - Tops With Me And More
||Hallmark Music 2013||CD||6.00 €
|Hep Stars - 5CD Original Album Serien
||Emi Music 2012||2-CD||29.00 €
|Hollies - Bus Stop
No rest for the Hollies in 1966! Hot on the heels of Beat Group!, Bus Stop rolled into U.S. record shops, right on schedule. Written by Gouldman, the title track became the band’s first Top Ten U.S. single, peaking at #5, and featuring their bell-tone harmonies to perfection. In addition to the sparkling single, the album is packed with their renditions of contemporary hits like Simon and Garfunkel's "I Am A Rock," Smokey Robinson and the Miracles' "Mickey's Monkey'" and the Fred Neil/Roy Orbison chestnut "Candy Man." Self-penned songs "We're Through," "Don't Run and Hide" and "You Know He Did” also shine brightly and prove there was no danger of “covering” up the band members’ writing skills. With this disc, the Hollies’ put the rock world on notice that they were the British Invasion’s most beat-filled battalion!
Out of print for decades, this classic album is FINALLY available again. Sourced from the aurally awesome original U.K. mono master, this LP is pressed on pristine 180-gram vinyl per your turntable’s request. Get in the queue!
Perhaps the most undervalued band of the original British Invasion, The Hollies’ hits are well known in the U.S…. but their early albums are almost impossible to find! Taking their name from Buddy Holly and modeling their harmonies on the Everly Brothers, the Hollies gathered these American musical ingredients and whipped them into a wholly-UKnique concoction. Forging their sound to the east of their Liverpool brothers-in-beat, this Manchester quintet had it all: the soaring vocals of Allan Clarke, Graham Nash and Tony Hicks; Hicks’ cascading, arpeggio-laden licks on guitar and a hard-hitting rhythm section driven by drummer extraordinaire Bobby Elliot. On top of that, their keen ears for top quality songs, written by the premier songsmiths of the day like teenage wunderkind Graham Gouldman, Chip “Wild Thing” Taylor and the stellar in-house writing team of Clarke/Hicks/Nash, ensured that their albums were extraordinary from start to finish. In short, they were a band that exuded greatness on all fronts. Now, as that greatness has been acknowledged by their induction into the Rock and Roll Hall of Fame, Sundazed Music is proud to present meticulously restored vinyl editions of the rare U.S. mono versions of the Hollies’ third and fourth Imperial label albums, from 1966.
|Sundazed Music 2011||LP||20.00 €
|Hollies - Here I Go Again / Hear ! Here !
1964 & 1965 albums on one CD
|BGO Records 2011||CD||15.00 €
|Howard Roberts Quartet - H.R. Is A Dirty Guitar Player !
HOWARD ROBERTS’ SWINGING JAZZ GUITAR MASTERPIECE FROM ’63!
In the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie.
Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man.
Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards (Lerner, Loewe"If Ever I Would Leave You"), bossa nova (Antonio Carlos Jobim's "One Note Samba") and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as "Smolderin'," "Turista," "Deep Fry" and "Dirty Old Bossa Nova."
Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art.
|Euphoria Jazz 2011||LP||20.00 €
|Howlin' Wolf - Smokestack Lightnin' - The Best Of Howlin' Wolf 2CD
2CDs = 48 tracks of hard-hitting inspirational blues.
|Spectrum Music 2011||CD||13.00 €
|Huey Piano Smith - It Do Me Good 2CD
The Banashak & Sansu Sessions 1966-1978.
When it comes to good time rollicking rock’n’roll or rhythm’n’blues, there are few exponents to match Huey ‘Piano’ Smith. One of the greatest of New Orleans’ many pianists, Smith began his career with blues men like Guitar Slim and Earl King and enjoyed a string of classic hits in the late 1950s. During that time he wrote and recorded three of rock and roll’s most enduring classics, ‘Rockin’ Pneumonia And The Boogie Woogie Flu’, ‘High Blood Pressure’ and ‘Sea Cruise’, the latter featuring the vocals of Frankie Ford. His career continued well into the 1970s.
This deluxe package is an upgraded version of a Charly CD released in the late 1980s, Pitta Pattin’. This collection - featuring the recordings he made for the Instant label in the late 1960s - has now been expanded to include several tracks not featured on the original including the ultra rare ‘Two Way Pock-A-Way’, ‘Epitaph To A Black Man’ and ‘The Whatcha Call ‘Em’ plus several newly discovered, previously unissued recordings. His powerful piano can be heard to good effect on the previously unissued, ‘I’m Boss Pt 2’ with its almost Northern Soul sound.
Many of Smith’s early Instant 45s were big local hits in New Orleans and Louisiana without ever denting any national charts and have long been sought after by collectors, with some, like ‘Two Way Pock-A-Way’, proving almost impossible to find today. Also featured are versions of ‘Rockin’ Pneumonia’, ‘High Blood Pressure’ and ‘Don’t You Just Know It’ recorded for an Atlantic LP that was never released. By way of a bonus, Huey’s last known recordings made for Allen Toussaint’s Sansu company in 1978 make their CD debut here, more than thirty years after their first release on Charly vinyl.
These are the last recordings of Huey Smith who retired from music to concentrate on his religious beliefs in the early 80s. He now lives in retirement in Baton Rouge but still happily acknowledges his huge contribution to New Orleans R&B and to rock’n’roll in general.
|Charly Records 2012||2-CD||18.00 €
|Ike & Tina Turner - It's Gonna Work Out Fine
||Jasmine Records 2013||CD||12.00 €
|Ike & Tina Turner - The Soul Of Ike & Tina Turner
Well-known for her trademark legs, throaty voice, and boundless stage energy, Tina Turner was one of the sexiest and most popular international performers of the 20th century. Ike Turner, a well established seminal figure in the early years of rock & roll as both a performer and talent scout, met her one night in St. Louis while he was performing with his “Kings Of Rhythm”: she just grabbed the microphone and sang a B.B. King song, impressing Ike so immediately and overwhelmingly that he asked her to perform regularly with them. The rest is history: Ike’s slick managing skills and songwriting, along with Tina’s intensely energetic lead voice, three back-up 'Ikettes’ and a technically airtight eight-piece band produced a combination of country blues, rock and roll, ghetto rhythm and gospel passion that created a legend lasting 50 years. “It’s Gonna Work Out Fine, “ “I Pity the Fool, “ “I Idolize You, and “Tra La La La La.” are just some of the R&B gems included in their 1960 astonishing debut album.
|Rumble Records 2012||LP||19.00 €
|Ike Turner - Rock-A-Bucket 2CD
||Primo Collection 2011||CD||10.00 €
|Jackie Day - Dig It The Most - The Complete Jackie Day
It has been at the back of my mind to compile an album of tracks by Jackie Day, a charming and elegant woman I met in the 80s, for many years. Back then I wanted to promote her singing talents in any way I could and some live performances were arranged overseas, but personal matters intervened, preventing her from visiting the UK. I could see that an LP of her recordings would have been viable, but there just didn’t seem to be enough material for a CD.
Jackie’s first recordings were made for Music City, a label run by Ray Dobard, a stubborn entrepreneur who didn’t have much time for white music business operators like me or my colleagues. Consequently her Music City tracks were unlikely to be licensable nor was her ‘Naughty Boy’ 45, which she cut for a company owned by Johnny Cochran (the father of the lawyer who got O.J. Simpson acquitted). A continued lack of response from the Cochran office indicated that they were not remotely interested. It was particularly frustrating as Jackie’s sessions for Modern had produced three stunning singles and one unissued track. Then there was a 45 and at least one unreleased title for Specialty and two very good sides for the Paula label. We were getting closer to gathering enough material but needed some good fortune to fill a CD.
The first break came with Ace’s purchase of Music City following Ray Dobard’s death. As Jackie had indicated to me, among the tape boxes were two excellently sung proto-soul recordings of country standards. Secondly a little more research into the Specialty tapes revealed not one but two similar and equally fine unissued titles. Then, on another tape, I discovered ‘Get To Steppin’’, a fabulous unreleased on-the-fours dancer from Jackie’s Modern sessions that I’d previously overlooked. As a DJ at the longest-ever running Northern Soul all-nighter, I should have been hammering it on the decks for the past decade to the audience’s undoubted delight. With eight Modern tracks, two Music City titles, four Specialty plus two easily-licensable Paula sides, it was just the pesky Cochrans holding back a potentially great CD.
Eventually, via one of our US friends and super-sleuths, who looked at the family records, we managed to get a couple of contact numbers. Lo and behold, one call didn’t get a disconnected line, an answering machine, or an operator telling us that our call could not be put through because we had no caller ID, but a real person who was a close member of the Cochran family, and asking how she could help us?
The full story is in the liner notes. Noted LA musicologist Jim Dawson who has written Jackie’s story, me and a cast of hundreds have put together a glorious package on a terrific soul singer that we think everyone will dig the most.
By Ady Croasdell (Ace Records)
|Ace Records 2011||CD||17.00 €
|Jackie DeShannon - Come And Get me - The Complete LIberty And Imperial Singles
Ace’s first volume of Jackie DeShannon’s Liberty and Imperial singles left her at the end of 1963. The same girl who performed a blistering set of folk and blues at LA’s Ash Grove venue had, a few weeks later, effortlessly climbed the Wall of Sound with Jack Nitzsche to produce one of the generation’s great pop records, ‘When You Walk In The Room’.
1964 saw Jackie composing more quality pop with new writing partner Randy Newman, then touring the States as specially requested support act to the Beatles hollering out ‘Shout’ to the screaming fans, and finishing the year in England exploring the boundaries of rock and folk with Jimmy Page.
1965 started gloriously with Jackie’s breathtaking recording of Bacharach and David’s homage to world peace ‘What The World Needs Now Is Love’. She co-starred with Bobby Vee in the teen movie C’mon Let’s Live A Little, laid down a riveting and still unreleased demo album of her own songs in the folk style, toured on the Caravan of Stars with the Drifters and Peter and Gordon, and took a break to study at the renowned Chouinard Art Institute.
In 1966 she recorded with the Byrds, released the sophisticated album “Are You Ready For This?” and signed a new recording and songwriting contract with Liberty.
This second volume of Jackie’s collected 45s leaves her at the start of 1967, when she laid down two ultra smooth and classy recordings of major film themes.
I’ve had the enormous pleasure of meeting Jackie a couple of times. Always excited, always enthusiastic, her conversation moves from spot-on analysis of the latest singers and bands, to recollections of every aspect of her life, to the thrill and tension of live performance.
Jackie DeShannon’s unwillingness to be typecast or pinned down to a single style has been the backbone of her splendid career and the reason why her loyal band of admirers – and all of those who have caught up with her over the years – find her performances, her songwriting and her recordings, a constant source of pleasure. Explore “Come And Get Me” at your leisure, you won’t be let down, you’ll smile with recognition and open your eyes wide at the unexpected, but most of all you’ll spend an hour and a bit with a young woman fully engaged in her career of making music of the highest quality.
By Peter Lerner (Ace Records)
|Ace Records 2011||CD||17.00 €
|Jackie DeShannon - Keep Me In Mind - The Complete Imperial And Liberty Singles
Over the last couple of years Ace Records have been taking a long and leisurely look at the recording career of the exciting and unpredictable singer-songwriter Jackie DeShannon. Their previous two compilations of her 1960s singles from the Liberty and Imperial labels, “You Won’t Forget Me” and “Come And Get Me”, have been replete with firm favourites and unexpected treats. Their new release, “Keep Me In Mind”, continues the story from 1967 through to 1970.
Jackie’s songwriting talents continued to bloom. Whether on her own or with collaborators, including top West Coast man-about-the-studio Jack Nitzsche and fellow singer Jimmy Holiday, Jackie came up with a string of commercial, tuneful and thoughtful songs which are a delight to listen to. Try for size the tender ‘Holly Would’, the breezy ‘Brighton Hill’ and the complex ‘Mediterranean Sky’.
Jackie also retained her unfailing ability to find the best works of other songwriters and adapt them to her own impressive vocal and emotional range. This album includes early works by Leonard Cohen, Robbie Robertson, Carole Bayer, Toni Wine and John Sebastian, as well as songs by Hal David, John Barry and Holland-Dozier-Holland.
Halfway through this joyful collection comes Jackie’s own version – the original and best – of her song ‘Put A Little Love In Your Heart’, a million-seller which encapsulates the views of a generation and has been covered by hundreds of other performers. Listening to the simple but perfectly expressed message still brings a lump to the throat and tears to the eyes of any thinking person.
Other highlights are her personal ode to ‘Laurel Canyon’ (several years before the place was rediscovered by Joni Mitchell) and the emotional and raw medley of ‘You Keep Me Hangin’ On’ and ‘Hurt So Bad’. Jackie’s interpretation of ‘The Weight’ may not be as well remembered as the Band’s, but it actually achieved a higher rating in the US charts.
For those who like to delve beyond the hits, there are some nice surprises. The two sides Jackie recorded in partnership with Bobby Womack demonstrate her real affinity with soul music, while her Christmas single is a true collector’s item. ‘Didn’t Want To Have To Do It’ is a very rare 45, as it was cancelled to make way for ‘The Weight’. And the title track, ‘Keep Me In Mind’, was only released on a single in the UK. The final track is Jackie’s stunning interpretation of Leonard Cohen’s ‘Bird On The Wire’, another cancelled single.
Jackie DeShannon’s recording career continued to blossom into the 1970s and beyond, on Capitol, Atlantic and Columbia Records. And she has continued to write top quality songs through the decades, her most recent hitting the downloads in 2012. Thanks, ACE, for giving us this complete and rewarding insight into the early days of Jackie’s brilliant career.
By Peter Lerner (Ace Records)
|Ace Records 2012||CD||18.00 €
|Jackie Lee - The Duck
Mirwood’s style was born with ‘The Duck’, but was epitomised for the UK’s uptempo soul fanatics by the pulverising tempos and shimmering sounds of ‘Do The Temptation Walk’ and ‘The Shotgun And The Duck’. ‘Do The Temptation Walk’ was the second song to be bootlegged for the burgeoning Old Soul scene way back in 1970 before the term Northern had been coined.
Though Mirwood undoubtedly aped Detroit’s Motown machine and Chicago’s slick soul sounds, the small indie label came up with its own recognisable brand. The instrumentation was always spot on, never over-embellished, but it was those upfront, uptight, girly vocals that proved to be the Mirwood watermark. In Sherlie Matthews the company had not only a great songwriter and singer but the best and most creative backing vocals arranger in the country.
Those distinctive feminine interjections on the hit ‘The Duck’ must have been noted and by the time of the LP’s recording and the next single ‘Your P-E-R-S-O-N-A-L-I-T-Y’, (interestingly not featured here) the girls’ vocals were even more to the fore. On ‘The Duck Pt 2’ and ‘Do The Temptation Walk’, Jackie and the girls are in call and response mode.
On this LP, a nod was given to Berry Gordy’s inspiration with the inclusion of ‘Dancing In The Street’ and ‘Do You Love Me’, but the subsequent Mirwood application gave those old songs (in pop terms) a new twist, that must have been both vibrant and exciting at the time. Like most US albums cashing in on a hit, it’s instinctive stuff and funnily enough it is tracks such as ‘Hully Gully’ and ‘The Bounce’, probably used to give Fred Smith some songwriting royalties, that embraced the new groove as well as any.
Coming out in 1965, I was a little too young and poor to carry this icon around at school, advertising my hipness. I’m sure a few of the old modsters will stick their hands up to that. Like Major Lance on his Okeh photos, Jackie looks the business; a hip young black guy with neat cropped hair and a sharply cut cardi to show those dance moves in. This disc will take your mind back to those halcyon days; even if your body can’t quite make the trip.
By Ady Croasdell (ACE RECORDS)
|Ace Records 2010||CD||12.00 €
|Jackie Ross - Jerk & Twine - The Complete Chess Recordings
1964 was a pivotal year for American popular music. The Stateside breakthrough of the Beatles and the ensuing British invaders changed the face of the nation’s charts, triggering a decline in sales for many domestic hit-makers who, overnight, became seen as outmoded. An exception to the rule was Motown, whose stable of stars not merely hung in there but went from strength to strength. The company’s golden girl, Mary Wells, topped the charts that year with ‘My Guy’, but her ill-advised departure at the height of her success signalled the cancellation of a projected follow-up, effectively opening a gap in the market.
Meanwhile in Chicago, Leonard Chess, founder of the venerable company that bore his name, was ever mindful of happenings at Berry Gordy’s nearby Detroit empire. As did Motown, Chess had its own family of musicians, writers and producers who were turning out a stream of fine product for the hungry soul market, but rarely scoring with a solid crossover smash.
Enter former Sam Cooke protégée Jackie Ross, a pretty teenager with a voice not dissimilar in tone to Mary Wells. Newly signed to Chess, her label debut unintentionally filled the ‘My Guy’ follow-up gap perfectly. Just as the intro to Mary’s smash had subtly incorporated strains of ‘Canadian Sunset’, so ‘Selfish One’ employed Nat King Cole’s ‘Tenderly’ to equally cool effect. Jackie slid easily from the soul to the pop charts with one of the most memorable hits of the year.
Jackie was soon ensconced in Chess Records’ Ter-Mar Studios with in-house arrangers Phil Wright and Riley Hampton and producer Billy Davis cutting material for future singles and her “Full Bloom” album. ‘I’ve Got The Skill’ and ‘Jerk And Twine’ both made the charts, but the equally fine ‘Haste Makes Waste’, ‘You Really Know How To Hurt A Girl’, ‘Take Me For A Little While’ and ‘We Can Do It’ all failed to catch on. A few ill-chosen words with Leonard Chess later, after just over a year with the company, Jackie’s tenure as a Chess artist came to an abrupt end.
As a result, a number of excellent 1965 recordings were consigned to the shelf, of which ‘It’s Going All The Way’, ‘I Dig His Style’ and ‘Trust In Me’ first surfaced on a 1998 CD release. The previously unissued ‘Stick To One’ and ‘My Square’ debut here, making this collection Jackie’s complete Chess Records output. Together with our recent Etta James, Sugar Pie DeSanto and Mitty Collier releases, it shows how great the company’s roster of female talent was.
By Malcolm Baumgart (Ace Records)
|Ace Records 2012||CD||18.00 €
|James Carr - In Muscle Shoals EP
Lots of you in Right Track Land seem to like the Kent EPs that we’ve been putting out in the last couple of years, and we can promise you that there’ll be several more in the coming months. Many will be comprised of music recorded in the American South, a part of the world close to the Kent A&R staff’s hearts for any number of reasons beyond the obvious quality of the music that sprung from there. Lovers of southern soul will be well pleased with these, particularly as a number of them will contain music that they have never heard before…
In the wake of ‘The Stars Of Goldwax’ and ‘The Stars Of Fame’ it’s great to be able to end the year with an EP containing four songs by a man who recorded for one of those labels and, on occasion, at the studios of the other. ‘James Carr In Muscle Shoals’ brings together the three tracks from James’ 1968 session at the Shoals area’s Quinvy Studios, and complements it with one from an early 1969 session at FAME. While all of the tracks have been released before, two are hitherto unreleased on vinyl and the other two have been mixed into first-time stereo, from the original 4 track multis, expressly for this project.
The contents of the EP offer a well rounded demonstration of James Augustus Carr’s abundant vocal capabilities. Deep soul, country soul, funky soul – James could do the lot and do it all well, even if it’s the deeper side of his catalogue that has predominantly earned him his enduring reputation with collectors and fans the world over.
All four selections included here offer five star performances, but Southern Soul seldom gets better than it does on our lead track, ‘That’s The Way Life Turned Out For Me’, a truly intense performance that sets the tone for what follows in its wake (and the version of ‘Life Turned Her That Way’ that does follow it, is different to the one that previously graced 50% of a Goldwax 45). Fans of the up-tempo side of James will be pleased to have his take on the Young Rascals’ ‘Love Is A Beautiful Thing’ on vinyl at long last, while collectors of versions of George Jackson’s terrific song ‘Search Your Heart’ will be just as delighted to own James’ cut on vinyl for the first time.
As well as the great music on offer, our cover features – as a bonus - a very rare photo of James that has only appeared once before in any Ace/Kent project. Packaged in a style that complements our previous and future Extended Play releases, and available only as a limited edition of 1000 copies (when they’re gone, they’re gone…) this is sure to be snapped up swiftly on its way to becoming a future collectors’ item…
…Next up in this ‘series’? Well, you’ll just have to wait and see what that is, but I can promise you already that you’ll like it!
By Tony Rounce (Ace Records)
|Ace Records 2011||Single/EP||13.00 €
|Jeanne And The Darlings / The Charmels - We're The Soul Girls ! - The Complete Volt Recordings
This Stax distaff double-header anthologises two underrated teams of ladies whose voices were utilised behind the scenes at McLemore Avenue as well as in their own right. Both were with the company for a number of years and neither ever had a long-playing vinyl release, which makes this new CD extremely welcome.
“We’re The Soul Girls” features everything released on Volt by Jeanne and the Darlings and the Charmels, as well as eleven tracks that were not issued at the time. Their original 45s are admired by girl group fans, and both the Darlings’ ‘Soul Girl’ and the Charmels’ ‘As Long As I Have You’ are also cherished by collectors of original breakbeats.
The Charmels were at Stax throughout the Atlantic-distributed years. As the Tonettes, theirs were the first voices to be heard on the Volt label when ‘No Tears’ became Volt 101 in early 1962 (#100 was an instrumental by the Triumphs). The Tonettes had a second single a few months later, and recorded enough material to fill four more 45s, but they caught an unexpected break when Nashville label Sound Stage 7 needed a black female group to go out as the Dixiebelles to promote a studio-created Hot 100 hit called ‘Down At Papa Joe’s’. The Tonettes masqueraded as the Dixiebelles until that concept had run its course, and returned to the Volt roster in late 1966 as the Charmels (and, on their final Volt 45, the Charmells). Working with Isaac Hayes and David Porter they rolled out four exemplary 45s over an 18 month period that extended into the early days of the post-Atlantic era.
They also backed up a number of Stax’ solo artists during part of that period, a role they shared with a trio of equally estimable ladies led by Arkansan Jeanne Dolphus – or Jeanne Darling as she was known professionally. Jeanne and her fellow Darlings would quickly become Stax’ equivalent of Motown’s Andantes, lending their vocal backups to an increasing number of sessions featuring solo Stax acts. Unlike the Andantes, who managed just one single in their own name during the years they were with Motown, Jeanne and the Darlings saw six singles issued over a three-year period with Volt. They too started their own career under the supervision of Hayes and Porter, before moving on to work with other great Stax writer-producers, including Don Davis and the celebrated ‘We Three’ trio of Bettye Crutcher, Homer Banks and Raymond Jackson. None of the unissued tracks by either group is inferior, and just about all of them could have been considered for singles.
You might think that there can’t be much left to do with Stax, given how many great CDs have preceded these two on the Ace catalogue. That’s not the case and, even as these two are finding their way into your collections, I’m mining the tape vaults for yet more exciting projects by both familiar and fairly obscure Stax acts. The ‘clicks’ just keep on coming….
By Tony Rounce (Ace Records)
|Ace Records 2012||CD||23.00 €
|Jerry Cole - Guitars A Go Go
Jerry did it all and did it like no-one else could. He recorded a load of high-octane, low-down, all-original exploitation projects and several great records under his own name. There was nothing vanilla about Jerry’s music and he had the unique ability to understand which way the trends were going and to make them his own.
Jerry’s career as a “fictitious” band leader began with his work on the Crown label. In 1963 he wrote the music, produced and played on several hotrod/motorcycle-themed LPs for the label by fictitious artists including the Hot Rodders, the Blasters, the Winners, the Scramblers and the Strokers. While these LPs include some fun and sometimes dreadful vocals, the instrumentals are raw, take-no-prisoners slabs of hot rod music at its best. That same year he recorded the first of three Joe Saraceno-produced themed LPs for Capitol, “Outer Limits” (exploiting the exploiter!) as Jerry Cole & the Spacemen. Introduced to Capitol by Bobby Darin, Jerry went on to record “Hot Rod Dance Party” and the seminal “Surf Age”, regarded as probably the most sophisticated surf LP of the era. He also appeared on several Gary Usher Capitol projects including “Hot Rod High” by the Knights. At the same time, Jerry was recording loads of drag racing, motorcycle and speed boat-themed instro albums for the Liberty label under the the Hornets banner. While this is not a complete list of studio instro LPs he appeared on, all of his efforts were fast-paced, balls-to-the walls original LPs that hold up well today.
With the advent of the go-go craze, Jerry recorded three themed LPs for Crown between 1965-66. Being situated in Hollywood, working the Sunset Strip and band leader of television’s smash dance/music show Shindig, Cole was smack dab in the middle of the swinging go-go scene. The first LP, “Guitars A Go Go” by the Stingers, included a few of the same tracks from the hotrod LPs, sans the hotrod sound effects with alternate titles. ‘Dang Thing’ appears as ‘Bad Rubber’ from the Blasters’ “Sounds Of The Drags”, ‘Coming On’ as “Pealin’ Out’ from the Strokers’ “Hot Rod Alley” and ‘Unchained Soul’ is an alternate version of ‘The Green Monster’ from the same LP. Also compare ‘Great Scott’ with the Champs’ ‘Red Eye’ – Jerry worked this riff on several tracks during the 60s. The next LP, “A Go Go Guitars” was credited to him and is somewhat more polished. All 10 tracks are standouts and ‘Curfew’, ‘Really Got it Bad’, ‘Sloppin’’, ‘Tower Of London’ and ‘Teen Age Fair’ are featured here. “Guitars A Go Go Vol 2”, this time by Jerry Cole and the Stingers, features Jerry playing a ferocious, twangy, rubber band-sounding Telecaster backed by Leon Russell’s signature piano and long-time band mates/brothers Glen and Norm Cass with Don Dexter on drums. This was one hell of a tightly-wound rhythm section and deserve much credit for Jerry’s overall sound on most of his instrumental recordings. This just might be some of the fastest and rockin’-est guitar playing ever recorded.
By Mike Vernon (from Ace Records website)
|Ace Records 2010||CD||17.00 €
|Jerry Cole - Psychedelic Guitars
“Psychedelic Guitars” is Ace’s third collection of Jerry Cole’s 1960s recordings for the Crown and Custom labels. “Hot Rod Twangin’”, the first in this series, showcased some of Jerry’s early R&B work as Billy Boyd and tracks from his hot rod-themed LPs of the mid-60s. The second, “Guitars A Go Go”, found him playing some fierce disco-fuelled guitar wizardry. And when everybody started tuning in and dropping out, Crown turned to Jerry Cole to save the day. It was at this time that Crown launched Custom Records, the label on which his six psychedelic albums were released.
Custom’s first psychedelic LPs weren’t psychedelic at all. Released as “Psychedelic Guitars” and “More Psychedelic Guitars”, they were merely Jerry’s “Guitars A Go Go” and “A Go Go Guitars” albums repackaged in new, splashy covers. But with the release of the Projection Company’s “Give Me Some Lovin’” LP things started to get a bit more interesting.
In 1966, avant-garde violinist and composer Paul Arnold hired Jerry and his main recording mates – Don Dexter, Norm Cass and Glenn Cass – to record a psychedelic concept album, “The Inner Sounds Of The Id” for RCA. At the same time, LA-based Alshire Records released the psychedelia-exploitation LP “The Animated Egg”, another album prized by collectors of the genre.
It’s not entirely clear which came first, “The Id” or “The Egg”, tracks and outtakes from both of which also appeared on Jerry’s Custom albums. The Projection Company’s “Give Me Some Lovin’” LP contained three alternate takes from “The Id”: ‘Wild Times’, ‘Boil The Kettle’ (with its Freudian psychobabble removed) and ‘I Love You, I Do’. A down-in-the groove take on ‘That’s The Way It Is’ from “The Egg” resurfaced as ‘Tune Out Of Place’ and the instrumental ‘‘T Morrow’ had vocals added to become a pretty good version of Spencer Davis’ ‘Gimme Some Lovin’’. New tracks included ‘What Else’, ‘Uh, Uh, Uh’ and the standout ‘Our Man Hendrix’.
With the release of T Swift & The Electric Bag’s “Are You Experienced” album Jerry and crew must have really started to come on to the Orange Sunshine. On tracks such as ‘Expo In Sound’ and ‘Free Form In 6’ Jerry waved his freak flag higher than most. ‘Kimeaa’ is a classic in its own right, as is Jerry’s 12-string workout on ‘What’s Your Bag?’, and even the cover version of ‘Are You Experienced’ is fun to listen to.
While the title track is a rather dreadful affair, the Generation Gap’s “Up, Up And Away” album is actually quite good. ‘Fool’s Luck’, ‘Hard Times’ and ‘Strange Shadows’ are excellent instrumentals and ‘High On Love’ and ‘Lisa’ are good examples of Jerry’s writing skills and vocal ability.
The Stone Canyon Rock Group’s “MacArthur Park” album duplicates the same “Id” material as the Projection Company LP. It also contains a repeat of ‘Strange Shadows’ (re-titled ‘Light Show’), the rockin’ ‘I Can’t Stand It’ and a couple of MOR vocal tunes.
Jerry Cole was a space age, soul-surfin’, hot roddin’, go-goin’, blues-pickin’ psychedelic ranger if there ever was one. Not many know these hard-to-find LPs even exist. I hope this compilation and the others in the series give listeners an opportunity to discover, re-evaluate and enjoy his unique and fun recordings for Crown and Custom.
By Mike Vernon (Ace Records)
|Ace Records 2012||CD||17.00 €
|Jerry Cole And His Spacemen - Hot Rod Dance Party
LIMITED EDITION OF 1000 COPIES - ON 180 GRAM VINYL!
As one of the busiest and most versatile session guitarists of the ’60s, Jerry Cole recorded with a litany of legends, including Phil Spector, the Beach Boys and the Byrds. But to those in the know, he’s renowned for his own incredible surf and hot rod instrumentals, which he delivered on a series of vintage albums with his band the Spacemen. Cole’s modernistic recordings, however, sound completely different from other surf-and-drag releases of the period, with expansive arrangements that often featured elements of jazz and exotica, the better to showcase the guitarist’s inventive, assertive playing.
One of Cole’s best-loved LPs is this amazing 1964 release, which includes contributions from many of the same L.A.-based musicians who played alongside Cole in the now-legendary session ensemble known as the Wrecking Crew. Cole’s powerful guitar work powers such turbo-charged numbers as “Night Rumble,” “Border Run,” Stinger” and “Hot Rod Queen,” which live up to the album’s title and then some!
Sundazed has lovingly remastered this masterful guitar extravaganza from the original analog tapes, carefully reproduced its complete original cover art and pressed it on high-quality 180 gram vinyl—all the better to keep this party humming!
|Sundazed Music 2010||LP||20.00 €
|Jerry Lee Lewis - Greatest
Probably one of the most controversial and disputable artists of his generation, Jerry Lee jumped on the rock and roll wagon with more ego and talent than anyone and lived to tell the tale.
When he broke onto the national scene in 1957, he was every middle-class parent's worst nightmare come true: a blonde-haired Southerner playing the piano with uncontrolled fury, while simultaneously reveling in his own sexuality.
Greatest! from 1961, Jerry Lee's second album originally out for the Sun Label, features his all-time hit "Great Balls Of Fire" along with a number of rockin' cuts, making this a terrific follow-up to his groundbreaking debut.
|Rumble Records 2012||LP||17.00 €
|Jerry Lee Lewis - Return Of Rock / Soul My Way
two albums from 1965 and 1967 on the same CD. 23 tracks
|BGO Records 2013||CD||17.00 €
|Jerry Lee Lewis - The Ferriday Fireball - Just About As Good As It Gets 2CD
You couldn't invent such a man as Jerry Lee Lewis: such a character, such a firebrand talent. Recently remarried for the seventh time (to the ex-wife of the brother of his third wife!), despite 60+ years of boozing and hell-raising he is truly The Last Man Standing from the original Memphis Sun rise of 50s rock 'n' roll. His rapscallion reputation sometimes obscures the fact that along with being an astonishing piano-pumper, for most of his career - if perhaps not so evident today - Jerry Lee excelled vocally as a masterful interpreter of others' songs into the Lewis style, the Lewis way, often with spontaneous one-take studio workouts. This 67-track power pack of his vibrating younger years reveals the truth of the matter.
This isn't 'just another' Jerry Lee Lewis compilation. Naturally his hits of the era are included but many of the other Sun recordings on Disc One have been chosen specifically to highlight The Killer's interpretative skills. Disc Two is a fascinating selection of examples of Jerry Lee as the unmistakable accompanist on label-mates' recordings, some previously unreleased out-takes, the best of the legendary Million Dollar Quartet session, his early pre-Sun private demos and his 50s live TV performances: some of the tracks now in far better sound quality than any previous reissue. Not for the faint-hearted.
|Smith & Co 2012||CD||12.00 €
|Jerry Lee Lewis - The Killer Live 1964-1970 3CD
||Hip-O-Select 2012||2-CD||39.00 €
|Jerry Lordan - All My Own Work
A key figure in British Pop during the pre-Beatles era.
He had a parallel career as a late 50’s early 60’s pop performer and songwriter.
Dale Hawkins scored with Lordan’ s A House, A Car,A Weddding Ring and I’ve Waited So Long was a top 5 for Anthony Newley. Lordan himself scored three hits in 1960, with Who Could Be Bluer going top 20.
Also in 1960 Lordan wrote Apache . A number 1 in the UK for The Shadows and no.2 in the US for Jordan Ingmann.
Lordan wrote two more no.1’s Wonderful Land for The Shadows and Diamonds for Jet Harris & Tony Meehan. His songs were also covered by Cliff Richard, Shane Fenton and he had another huge hit with Louise Cordet and I’m Just A Baby
Included here are all Lordans recordings for Parlophone , which in turn represents the majority of his recording career. They include his one LP , all his singles and his authors version of Apache.
Reissued officially here for the first time, this is also the first time the recordings have appeared on CD.
|RPM 2012||CD||17.00 €
|Jimmie Rodgers - 21 Greatest Hits
||IMC Music 2012||CD||10.00 €
|Jimmy Bryant - The Fastest Guitar In The Country
ELECTRIFYING ULTRA-RARE ALBUM BY ’60S FRETBOARD GENIUS!
Fretboard fanatics...fret no more! Here at last is the album that christened Jimmy Bryant with the distinct moniker of "Fastest Guitar in the Country.” After a run of success with steel guitarist Speedy West on Capitol Records, Jimmy Bryant signed a solo contract with Imperial Records in the mid ’60s. While Bryant’s recordings with West established him as a fretboard genius, it was the 1967 release of The Fastest Guitar in the Country that left the disc jockey world wondering if his lighting speed was legitimate. Naysayers were left in awe as they witnessed Bryant’s dizzying technique at a DJ convention in Nashville.
Bryant’s frenzied fretboard flair is in full effect on his rendition of the classic “Sugar Foot Rag” and “Little Rock Getaway” bearing evidence as to why this is one of the most electrifying instrumental recordings of all time. Never before reissued, this collection of jazz-fueled country pickin’ is the ultimate testament of Jimmy Bryant’s gift to the guitar world. Sourced from the original Imperial stereo masters, Sundazed is proud to release this ultra-rare album on 180 gram vinyl.
|Sundazed Music 2012||LP||20.00 €
|Jimmy Edwards - Love Bug Crawl
A rare chapter from the rockabilly vaults! A story untold until now!Includes the classic Hot 100 hit Love Bug Crawl!First time on CD for most of these recordings!In 1957, some guys at the Buick plant in Flint, Michigan, got together to make a record, Love Bug Crawl. It was heard by two other Buick employees, who took the lead singer, James Bullington, down to Nashville to re-do the song. The tapes were sold to Mercury and James Bullington became Jimmy Edwards, and Love Bug Crawl became a Hot 100 hit. Jimmy was whisked out on tour with Buddy Holly, the Everly Brothers, Eddie Cochran, and others. He never found that elusive second hit, but the complete story of his recording career is here. This collection includes the later Mercury singles (one backed by Narvel Felts' band) and the previously un-reissued RCA singles, plus the unissued Mercury and RCA recordings, PLUS that ultra-rare first version of Love Bug Crawl -a record so rare that most collectors have never even seen it!--It's hard to believe that there is rare rockabilly and rock 'n' roll waiting to be reissued in 2010, but it's true. Previously unseen photos and a full biography by Colin Escott complete the package!
|Bear Family 2010||CD||18.00 €
|Jimmy Reed - Ain't That Loving You Baby 2CD
With his simple, recognisable and accessible sound, Jimmy Reed was perhaps one of the most commercially successful blues artists in the USA in the '50s and '60s, if not of all time.
This is the most comprehensive collection of his earliest recordings ever released and is the first time ever on CD that all his A and B sides have been compiled chronologically in one collection.
Features all the Jimmy Reed classics that you would expect: 'Baby What You Want Me to Do'; 'Bright Lights Big City'; 'Honest I Do'; 'You Don't Have to Go'; 'Going to New York'; 'Ain't That Lovin' You Baby' and 'Big Boss Man'.
Fully Detailed liner notes with biography and career achievements.
|Jasmine Records 2013||CD||15.00 €
|Jive Five - I'm A Happy Man - The UA Album plus Bonus Singles
The Jive Five began their singing career at the time when soul music was establishing an identity in the era of R&B, and their songs have doo-wop roots with soul stylings. The lilting I m A Happy Man was a crossover Hot 100 hit in 1964, their first chart entry on United Artists. Featuring the distinctive lead vocal of Eugene Pitt, the Jive Five recordings for United Artists were included in their first album, now re-issued on CD by Shout! Records.
In addition are the singles tracks omitted from the vinyl LP, plus a further bonus with the solo single by Eugene Pitt recorded for UA s soul subsidiary label Veep. These landmark vocal group recordings have not been available some 20 years, and the album is valued at premium price by collector dealers.
|Shout Records 2011||CD||17.00 €
|Joe Barry - A Fool To Care: Classic Recordings 1960-1977 2CD
t may surprise some readers to learn that many musicians from South Louisiana do not like their music to be categorised as swamp pop (a term coined originally by music writer Bill Millar). For the rest of us, it feels like the perfect way to describe the rolling rhythms and unique vocals that define the great records which came out of the area between the latter 1950s and the mid-60s. Whether he would have liked to be defined by said term or not, Louisiana’s Joe Barry is one of the greatest exponents of the genre, and the recordings that he made between 1959 and 1964 in particular embrace many of its most treasured moments.
Joe only charted nationally a couple of times, his greatest hit being the wonderfully languid revival of hillbilly standard ‘I’m A Fool To Care’, which many thought was the work of Fats Domino until they saw Joe on TV or in photos. But his lengthy career amounted to more than a couple of hit 45s. This new 2CD set, named after Joe’s career record, compiles almost 40 sides from Joe’s first period of recording, plus the dozen tracks cut during his brief comeback of the mid-1970s – almost all of them taped under the supervision of his long-time producer Huey Meaux.
To ensure that “I’m A Fool To Care” would be the definitive collection of Joe’s collaborations with Meaux, Alec Palao and I went back to the producer’s original tapes and re-copied every single one in what turned out to be something of a marathon session inHoustonlast March. Everything here is mastered from those new transfers, with the exception of two Sho-Biz sides, which had to be transferred from a 45 as no tape seems to have survived. Alec was also able to mix a few of the tracks (some previously unreleased) into true stereo for the first time, from a handful of surviving Cosimo’s multi-tracks.
We have not repeated the mistakes of some previous compilations, which included tracks not sung by Joe. Although there have been previous anthologies of his work released during the last 15 years, we guarantee than none of them will offer anything like the level of audio excellence this one does.
With an extensive essay based around an interview conducted by John Broven in the late 70s, and a booklet that contains lots or rare images and label shots of almost every 45 featured on the collection, this 2CD set will be the perfect way to remember this beloved exponent of South Louisiana R&B … or swamp pop, if you don’t happen to be from down that way.
By Tony Rounce (Ace Records
|Ace Records 2012||CD||28.00 €
|John Barry - The Bees Knees-The EMI Years 1957-1964 3CD
Tammikuun 30. päivänä kuolleen John Barryn EMI levytykset.
Viisinkertainen Oscar-voittaja tuli tunnetuksi elokuvamusiikistaan mm. filmeihin
'Born Free', 'Out Of Africa' ja James Bond elokuviin.
Tässä uudelleen pakattu tripla 1990-luvulla julkaistusta versiosta. The EMI years
1957-1964 kokoelman Cdt 1 ja 2 ilmestyivät 1993, ja Vol. 3 vuonna 1995.
Mukana legendaariset levytykset mukanaan 'Stringband' albumi, sekä singlelevyjen,
|Emi 2011||2-CD||22.00 €
|John Coltrane And Johnny Hartman - John Coltrane And Johnny Hartman
reissue of 1963 Impulse LP
|Universal Music 2012||LP||25.00 €
|John Mayall And The Bluesbreakers - A Hard Road
EXPLOSIVE 1967 ELECTRIC BLUES SET RESTORED TO ITS ORIGINAL MONO GLORY.
1967’s A Hard Road proved to be every bit as powerful and innovative as its predecessor, thanks in large part to Mayall’s discovery of Clapton’s equally brilliant replacement, Peter Green. A one-of-a-kind player with a highly distinctive sound, Green makes his instrumental presence felt throughout A Hard Road, while delivering compelling lead vocals on “You Don’t Love Me” and “The Same Way.” With sterling support from bassist John McVie and drummer Aynsley Dunbar, the material here features such Mayall originals as “Hit the Highway,” “Leaping Christine” and the title track, along with standout interpretations of tunes by Freddie King, Elmore James and Willie Cobbs. The legendarily haunting Green-penned instrumental “The Supernatural” previews the guitarist’s groundbreaking work with the original incarnation of Fleetwood Mac, which he and fellow Bluesbreaker John McVie would form a few months later.
From the pristine U.K. mono masters, with complete original artwork and photos.
Vintage Guitar Magazine - December 2011
Mayall’s Guitar-Hero School
John Mayall's fabled albums with Eric Clapton, Peter Green, and Mick Taylor have been reissued before, but these discs, re-mastered from the original mono masters, sound absolutely glorious (whether on CD or 180-gram vinyl).
★ ★ ★ ★
Now in glorious mono, the 1967 LP which unveiled Peter Green’s precocious blues genius.
|Sundazed Music 2011||LP||20.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE