Uusimmat julkaisut - 1960-luku
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| Aimo Saxelin - Juhlalevy - Levytyksiä 1963-1974 AIMO SAXELIN - JUHLALEVY Aimo Saxelin on syntynyt 26.1.1940 Kymissä. Laulajan uralta on heti mainittava iskelmälaulun Suomen mestaruus vuodelta 1961. Hän oli myös 17 vuotta solistina Mauno Sillanmäen yhtyeessä. Juhlalevyn julkaisu tulee pienellä viiveellä Aimon 70 – vuotis syntymäpäivään nähden. Alkuperäisten äänitteiden hankinta osoittautui perin työlääksi. En halunnut kuitenkaan luopua projektista! Alkujaan oli tiedossa, että vuoden 1974 levytysten masternauhat eivät ole enää tallessa! Etsintä kohdistui 1960 – luvun levytyksiin. Näiden etsintää viivästytti Warnerin tiloissa ollut tulipalo. Aikanaan tuli tieto, että masternauhat myös 1960 – luvulta ovat kadonneet. Tällöin kävi selväksi, että äänitesiirrot on tehtävä alkuperäisiltä vinyylilevyiltä. Aimo Saxelinin levyt ovat erittäin harvinaisia ja yleensä hyvin huonokuntoisia. Tiesin, että Turun seudulla asuvalla radiotoimittaja Erkki Rantasella on kaikki Aimon levyt ja vielä hyväkuntoisina. Vihdoin vuoden 2010 lopulla Erkki tuli Tampereelle ja äänisiirrot tehtiin Samu Oittisen toimesta suoraan äänipöytään uudella Fantom Studion levysoittimella. Tästä sain projektin viimein käyntiin. NUORUUDEN AIKAA Istun Aimo Saxelinin olohuoneessa Vantaan Kaivokselassa ja kysyn heti harvinaisemmasta sukunimestä? Hän toteaa, että ruotsalaisperäinen nimi kirjoitettiin aluksi Sax`lin ja myöhemmin nimi alettiin kirjoittamaan Saxelin. Perhe muutti Kymistä Savoon Hirvensalmelle Aimon ollessa yhden vanha ns. sotaa pakoon. Isä Päiviö Saxelin oli maalari ja maalasi mm. Hirvensalmen kirkon sisäosat. Hän oli myös harmonikan soittaja. Äiti Eila lauloi kuoroissa. Vuonna 1951 perhe muutti Mikkeliin Visulahteen. Nyt muutettiin äidin karjakon työn perässä. Koulun loputtua Aimo meni työhön mikkeliläiseen leipomoon. Sanoi aloittaneensa tsupparina 1953 ja ollen leipomon puolella 1955 – 1961. Aimon vanhempi veli Hannu Saxelin ( 1938 – 2004 ) meni muuton jälkeen 1951 Mikkelin JR7 – soittokuntaan. Tuossa varuskunnan soittokunnassa tuli perusoppia viisi vuotta. Hannun soittimet olivat klarinetti, saksofoni ja huilu. Aimo harrasti nyrkkeilyä nuorten sarjoissa Mikkelin Nyrkkeilijöissä. Hänen lenkkikaverinaan oli hanuristi Ossi Vasara. Elettiin vuotta 1957 ja Ossi kysyi kotonaan Aimolta - oletko sinä musikaalinen, kun veljesikin soittaa? Aimoi lauloi muutaman kappaleen malliksi ja viisi päivää oli aikaa harjoitella ennen ekaa keikkaa, nimittäin Ossi Vasaran yhtyeeltä puuttui solisti seuraavan lauantain keikalta. Aimo Saxelinin ensimmäinen laulukeikka oli Mieskonmäen Maamiesseuran talon syystanssien avajaisissa. Keikka jäi ainoaksi Ossin kanssa, sillä hän lähti Helsinkiin Lasse Kuuselan yhtyeeseen. Aimo Saxelinin laulajan ura lähtikin nyt alkuun, sillä hän pääsi solistiksi Ossin veljen Oiva Vasaran yhtyeeseen. Toisena solistina oli Irma Purosalmi. Tässä yhtyeessä kului vuodet 1957 – 1961. Ennen joulua 1961 tuli muutto Järvenpäähän. Aimo Saxelinin ura laulajana jatkui useiden yhtyeiden solistina. Hän totesi, että lähti kun pyydettiin. Nimi tuli hiljalleen tutuksi Etelä – Suomen orkesteripiireissä ja Aimo hoiteli hommat hyvin, sekä keikat lisääntyivät. LAULUKILPAILUJEN VOITTOJA Aimo Saxelin osallistui uran alkupuolella viiteen laulukilpailuun. Saldo on komea, sillä kaikista tuli voitto! Vuonna 1958 Juvalla oli Erkki Ertama yhtyeineen laulusolistina Lasse Liemola. Tanssi – illan aikana oli myös laulukilpailu. Jaetulle ensimmäiselle sijalle tulivat Aimo Saxelin ja Pauli Purosalmi. Yleisöäänestyksen voitti Aimo Saxelin. Toinen laulukilpailu oli 1959 Mikkelin Työväentalossa. Illan orkesterina oli Veikko Ahvenainen laulusolistinaan Seppo Pirhonen. Täällä myös Aimo Saxelin oli kilpailun voittaja. Hän totesi, että lasten sarjan voitti Heikki Kinnunen. Aimo muisteli, että nykyinen tunnettu näyttelijä oli jo tuolloin vapautunut esiintyjä. Vuoden 1961 keväällä käytiin iskelmälaulun SM – kilpailujen osakarsinta Mikkelin Urheilutalossa. Säestävä bändi oli nyt Eino Grön orkestereineen. Kilpailun voittaja pääsi Helsinkiin loppukilpailuun. Voittaja oli Aimo Saxelin! Loppukilpailu pidettiin 2.10.1961 Helsingin Kulttuuritalossa. Miesten kotimaisen sarjan voitti Aimo Saxelin! Katselen Aimon olohuoneessa hopealautasta, joka oli palkintona ja on nyt kirjahyllyssä. SM – kilpailuissa oli aamulla karsinnat, jossa Asser Fagerström säesti pianolla. Eri sarjoissa karsijoita oli yli sata. Aimo lauloi kappaleet ” O`sole mio ja Angelique .” Paikka finaaliin tuli, joka alkoi illalla. Eero Väreen orkesteri säesti ja Aimo Saxelin lauloi kappaleen ” Angelique,” jolla tuo voitto tuli. Yhtenä tuomarina oli Olavi Virta. Aimo sai vielä voiton Turusta vuonna 1962. Hän muistaa pakollisen kappaleen ” Kenian yössä.” Kilpailu pidettiin Turun uudessa Konserttitalossa. Tämän kilpailun voitto toi levytyksen! LEVYTYKSIÄ JA ERI ORKESTEREITA Ensilevytys oli yhdessä Reine Rimònin kanssa. Kappale ” Ilta Linnanmäellä ” tuotettiin Polydor – merkille vuonna 1963. Reine Rimòn ( 1942 ) oli jo nimeä saanut jazzlaulajatar. Hän lauloi 1950 – luvun lopulla ravintoloissa nimellä Nina Rives. Ravintoloihin nuoren iän vuoksi hän vaihtoi taiteilijanimen. Opiskelun jälkeen hän oli solistina omalla nimellään eri orkestereissa mm. Erik Lindströmillä. Vuoden 1960 aikana hän perusti yhyeen, jolla oli nimenä Nina`s Combo. Hän meni Aerolle lentoemännäksi 1960 – luvun puolessavälissä ja laulut loppuivat. Uudelleen jazzlaulajattaren ura alkoi 1980 – luvun alussa. Hän laulaa perinteistä New Orleans – tyylistä jazzia. Asuu Kaliforniassa ja käy Suomessa esiintymässä festivaaleilla. Säestävänä bändinä on ollut Hot Papas. Aimo Saxelin sanoi minulle, että ei ole tavannut Reineä heidän levytyksen jälkeen. Bequine ” Paula ” levytettiin vuonna 1964 ja tällä kappaleella komeaääninen Aimo Saxelin tuli jo kaikkien kuuluviin radioiden kautta. ” Paulassa ” on komea alttosaksofoni- saundi. Radiotoimittaja Erkki Rantanen toi esiin Aimon levytyksistä kappaleen ” Rakkauden syksy.” Hän sanoi olleensa koulun jälkeen työssä Naantalin Sokeritehtaalla ja kuuli tuon kappaleen taustamusiikkina radion rinnakkaisohjelmasta. Elettiin vuoden 1965 syksyä ja Erkkihän hankki tuon levyn välittömästi. Tuolta ajalta asti Erkin suosikkisolisteja ovat olleet mm. Mikko Järvinen, Reijo Viita ja Aimo Saxelin. Myöhemmin myös Eero Savolainen. Fonovox – yhtiö tuotti 1974 kokoomalevyn, jolle Aimo lauloi neljä tangoa. Sovittajana toimi 23 – vuotias Jarmo Jylhä. Hän oli hankkinut sovittamiseen oppia Tommy Nordströmiltä. Orkesteri soi komeasti Aimo Saxelinin taustalla, joten nuori sovittaja on onnistunut erinomaisesti! La Paloma on nostettava esiin. Tässä tango – habanerassa iso orkesteri soi erityisen mallikkaasti Aimo Saxelinin loistavan laulun säestyksessä. Jälleen saksofonisaundi tuo piristävän soinnin. Levytys onkin Suomessa La Palomasta yksi parhaista! Kappaleenhan sävelsi Sebastian de Yradier ( 1809 – 1865 ). Hän palasi Kuubasta 1861 ja tämän jälkeen noin 1863 syntyi tämä maailmankuulu sävellys. Aimo lauloi vapaana solistina koko 1960 – luvun. Pidempi 10 kk kiinnitys oli 1963 Onni Gideonin orkesteriin. Kokoonpano oli seuraava; Onni Gideon basso ja havaijinkitara, Hannu Saxelin klarinetti, saksofoni ja huilu, Juhani Aalto pasuuna, Björn Björklöf trumpetti, Markku Marttina piano ja urut, sekä englantilainen Norman Nikhols rummut. Tästä isosta kokoonpanosta tuli hyvää oppia Aimolle, näin hän totesi. Seuraavien muusikoiden yhtyeissä hän oli mukana eri aikoja; Seppo Ohtama, Matti Väkeväinen, Yrjö Latva, Leo Tallgren, Aarne Jokela, Teuvo Ihanus, Jorma Weneskoski ja Matti Lavi. MAUNO SILLANMÄEN YHTYE JA AIMO SAXELIN Vuodesta 1970 alkaen Aimo Saxelin oli solistina tunnetussa Mauno Sillanmäen yhtyeessä. Solistivuosia kertyi peräti 17 aina vuoteen 1987 asti. Yhtyeen kokoonpano oli seuraava; Mauno Sillanmäki harmonikka. Uolevi Haapanen viulu, trumpetti ja pasuuna, Vesa Issakainen basso ja Jouni Varis rummut. Basisti Vesa Issakainen oli kuunnellut Aimo Saxelinia Oulunkylän Pikkukoskella ja oli sanonut Mauno Sillanmäelle, että Saxelin olisi hyvä solisti heidän bändiinsä. Aimo Saxelin totesi, että Mauno soitti hänelle ja nopeasti pääsivät sopimukseen vakituisesta laulusolistin paikasta. Mauno Sillanmäki perusti yhtyeen nimiinsä 1960 – luvun puolessavälissä. Aikaisemmin olivat lyhytaikaisia solisteja mm. Ossi Lehtinen ja Kalevi Raninen. Loistavaääninen Aimo Saxelin oli jo nimekäs solisti ja Mauno Sillanmäen yhtye nousikin nopeasti huipulle! Yhtye pääsi esiintymään kaikkiin Suomen johtaviin tanssipaikkoihin. Varsinkin pääkaupunkiseutu laajennettuna Uudellamaalla oli yhtyeen ominta aluetta. Maakunnissa myös kierrettiin. Huippuvuotena oli 127 keikkaa ja kahtena vuotena 120. Kaikilla oli myös lisäksi päivätyö. Mauno Sillanmäki ( 1932 – 1995 ) oli kotoisin Pirkanmaan Pohjaslahdelta ja sai soitto – opin Työväenyhdistyksen Torvisoittokunnassa. Antti Koivula ( 1932 ) Ylöjärveltä muistelee Maunon soittaneen es – kornettia. Samasta kunnasta ja soittokunnasta oli myös Uolevi Haapanen ( 1929 ). Vesa Issakainen ( 1941 ) on kotoisin Tuupovaarasta, sekä Jouni Varis Joensuusta. Variksen tilalle tuli rumpuihin 1970 – luvun puolessavälissä Harri Väreluoto ( 1941 ). Hän on lähtöisin Malmilta. Mauno Sillanmäki muutti Helsinkiin 1956 ja meni Aerolle työhön. Alkuaikana hän oli hanuristina ainakin Uolevi Haapasen kvintetissä ja Veikko Vuorisen yhtyeessä ennen omaa kokoonpanoa. Vaimon työn myötä hän muutti Karkkilaan. 1980 – luvulla Manulle tuli sydämen läppäongelmaa ja joutui operaatioon. Keikkoja oli vähennettävä ja lopulta yhtye oli lopetettava sellaisenaan 1987. Muutos oli suuri, koska hän oli soittanut koko ikänsä! Hänet tunnettiin hyvänä neuvottelijana ja sai soittokeikkoja hyvin. Itsekin tunsin tuon hyvin positiivisen soittajan. Hän oli loistava orkesterihanuristi. Sointuja riitti ja säesti laulajaa hyvin! Vesa Issakainen totesi, että joukko tanssijoita kulki mukana useissa paikoissa, koska heidän tahtibalanssi oli paikallaan. Musiikki oli ”tanssijalkaan” sopivaa. Kuuntelin Mauno Sillanmäkeä ja Aimo Saxelinia aikanaan usein ja on todettava, että yhtye oli kvarteteista Suomen parhaimmistoa. Oli viulu- ja puhallinsaundi Uolevi Haapasen ansiosta. Aimo Saxelin esiintyi myös TV:n lauantaitansseissa, sekä aikaisemmin ohjelmissa ”Nuorten portaat ja Nuorten kykyjen esiinmarssi.” Hän oli myös Dario Campeotton ja Robertinon kanssa eräässä kansainvälisessä TV – ohjelmassa. Lauloi ” Paulan,” jossa veli Hannu Saxelin soitti saksofonisoolon. Hannu Saxelin oli pitkään radion musiikkitoimittajana. Toinen veli Matti ( 1951 ) oli rumpalina Dave Lindholmin alkuaikojen kokoonpanossa. Aimo lopetti laulamisen heinäkuussa 1990. Mauno Sillanmäen yhtyeen jälkeen jatkoi sama kokoonpano vielä nimellä Aimo Saxelin yhtyeineen kolme vuotta. Aimon päivätyö oli puutarha – alalla. Hän otti myös aikanaan laulutunteja Eero Väreeltä, Saga Leanderilta ja Pentti Tuomiselta. Tuon ajan laulajat kehittivät itseään. Aimon laulun oli huomioinut myös Dallapèn Eero Lauresalo. Hän pyysi Aimo Saxelinia Dallapèn solistiksi vuoden 1968 keväällä. Lauresalo oli sanonut, että meillä ei soiteta mitään uudempaa. Nuori Aimo ei innostunut pelkästä vanhasta tanssimusiikista. Dallapèhen menikin Kalevi Korpi. Kiitän Aimo Saxelinia hyvästä yhteistyöstä, sekä Timo Lindströmiä ja Jarmo Jylhää Warnerin ja Fonovoxin levyoikeuksien jatkokäytön luvasta CD – formaattiin. Ilman Erkki Rantasen levyjä tämä projekti ei olisi ollut mahdollinen. Samoin kiitokset Erkille. Hellevi Viitasen ja Reijo Viidan arkistoa sain käyttööni jälleen. Kiitokset myös heille. Tampereella 2011 Timo Leppänen |
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Salix 2011 | CD | 15.00 € |
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| Albert King - The Big Blues Standing well over six feet and weighing in at around 250 pounds, it's no surprise that Albert King earned the nickname "The Velvet Bulldozer." Standing on stage with his Gibson Flying V, named Lucy, King cut an imposing visual figure. Still, he made an even bigger impression through his recordings, reaching fans all over the world with his punchy, aggressive guitar playing and his commanding voice. Born on a cotton plantation in Indianola, Mississippi, in 1923, King was introduced music in church, where his father played guitar. After picking up the guitar himself, King played across the south and midwest, winning a strong live following while in pursuit of a successful recording career. After a few abortive attempts, King finally scored a major hit single with "Don't Throw Your Love on Me So Strong," reaching #14 on the Billboard R&B chart in 1961. Recorded for Cincinnati's King label, the song captured the distinctive call-and-response style between King's voice and guitar, a direct extension of his gospel roots. It was included on his debut album The Big Blues, a dynamic mix of twelve vocal and instrumental tracks, ten of which were self-composed. Backed by a razor sharp band, which included Ike Turner on piano, King showed an authoritative command of ballads, rumbas and mid-tempo shuffles. It was a sound honed in countless club gigs, a "vivid sound" as the LP jacket rightly proclaimed. To restore this sound to its royal splendor, Sundazed sourced this reissue from the original King mono master tapes. Pressed on 180-gram vinyl at Record Technology, Inc. (RTI) in Camarillo, CA, this resurrected LP boasts breathtaking sound and an exact reproduction of the original first edition cover artwork. Nothing less would have been worthy of one of the most important albums in the blues pantheon. All hail King Albert! |
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Sundazed Music 2012 | LP | 23.00 € |
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| Albert King - The Definitive Albert King On Stax 2CD |
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Stax Records 2011 | CD | 22.00 € |
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| Alvin Cash - Windy City Workout - The Essential Dance Craze Hits 2CD Chicago soul music is one of the many regional variations that proved nationally popular during the 1960s and this unique collection celebrates one of the city’s many stars Alvin Cash. An often overlooked sub-genre is the almost never-ending stream of dance craze records which caught the national imagination, and Alvin Cash was among the leading exponents. Windy City Workout is the first ever legitimate CD release devoted entirely to Cash’s recordings. Disc 1 opens with his sole album release Twine Time, named after his biggest hit, and continues into Disc 2 with all of his single releases in chronological order. This deluxe memorabilia-laden package features notes from the eminent Chicago blues and soul expert Robert Pruter, and the track listing denotes all the chart placings he secured on America’s pop and R&B charts. Cash’s recordings for Mar-V-Lus, Toddlin’ Town, Seventy-Seven and Sound Stage Seven are all included. Also featured are three tracks which only ever appeared on the now ultra-rare Toddlin’ Town LP, Wilson Pickett’s ‘Funky Broadway’ and two Arthur Conley hits, ‘Funky Street’ and ‘People Sure Act Funny’. Dances with instructions include The Twine, The Boo Ga Loo, The Bump, The Barracuda, The Boston Monkey, The Penguin, The Freeze, The Charge, The Popcorn and, second only to The Twine, The Ali Shuffle, a dance which Alvin dedicated to Mohammed Ali. Alvin Cash passed away in 1999 but his music still resonates on today’s soul scene, as a quick visit to YouTube will attest. This carefully compiled 2CD set is the first comprehensive retrospective of his work and is testimony to the power of dance music; get up and get down is all you can really do to this collection. |
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Charly Records 2012 | 2-CD | 18.00 € |
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| Ann-Margret & Al Hirt - Personalities Digipak with 24-page booklet, 15 tracks. Playing time approx. 40 minutes. -- The 'Velvet Lounge' is a remarkable series of re-releases dedicated to music that is always elegant and entertaining - and sometimes even exotic. The series is a comfortable and welcoming home for treasures from the fabulous Fifties and the strange Sixties. It is a mark of quality placed on music we've rediscovered from long ago and far away, from a time and place between Rock and Beat ecstasy and psychedelic populism. -- This newest addition to the Bear Family contains music that comes straight from the archives of both large and small record companies, and is re-mastered to Bear Family's excellent quality, normally as a direct digitalisation of a master-tape but always with the best possible sound. What you hear is what you get, and the listener is tempted in by this music, asked to relax and savour the music, while maybe putting up their feet and slowly stirring a long drink. -- And who you hear is important; the artists' names alone make for a formidable series. Eartha Kitt, 'the most exciting woman in the world' according to Orson Welles, does her purring 'thang' on the album 'St. Louis Blues', alongside legendary West-Coast-trumpeter Milton 'Shorty' Rogers and an extravagantly exciting and highly entertaining blues program. And then on the album 'Personalities' another trumpeter Al 'Jumbo' Hirt dedicates himself to a sort of 'symbolization in sound' of sex-bomb Ann Margret, some twenty years his junior, on songs like My Baby Just Cares For Me or Baby, It's Cold Outside. Despite numerical evidence to the contrary, 'jazz' was not a four letter word back then, and even 'entertainment' did not smell funny, yet. The motto was 'anything goes' rather than 'is that allowed ' This artistic free-for-all and high quality craftsmanship produced songs that had every right to be called 'standards'. Artist-arrangers like Marty Paich or Juan Esquivel, for instance, not only showcased the abilities of some of the best studio musicians of their time, but also the songwriters. -- The 'Velvet Lounge' engages more than the ears, though. You'll need your stomach muscles, at least those involved in extensive laughter. On 'What were they thinking ' an overdue compilation with all kinds of 'odd couples', pleasure becomes a principle and the absurd gets to be ordinary. Country stars meet Exotica heroes or Easy Listening troubadours. Pop crooners like Perry Como are coupled with the Sons Of The Pioneers, and even Lotte Lenya, Kurt Weill's wife, and Bertolt Brecht's favorite mime, gets to share some hilarious studio-time with the sensational Louis Armstrong. -- Because the 'Velvet Lounge' series comes under the Bear Family banner, it is a given that the graphic design is perfectly fitting and fittingly perfect, featuring rare original photographs, exact discographies, and extensive liner notes. Everything about this series has a touch of exuberance and luxury. Everyone from the collecting specialist to the cultural crusader can feel most welcome and at home in this 'Velvet Lounge'. |
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Bear Family 1998 | CD | 17.00 € |
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| Aretha Franklin - The Electrifying After releasing the Aretha Franklin deluxe set (out of print) last year, Music On Vinyl are reissuing one high in-demand LP that was included in that set: The Electrifying Aretha Franklin. Newly mastered from the original analog tapes, The Electrifying Aretha Franklin indeed electrified audiences when it was released in 1962, winning Aretha top honors in DownBeat magazine's prestigious listeners' poll. Aretha's brief output for Columbia set the stage for her ascendance as the Queen of Soul at Atlantic Records. One can easily hear her divinely inspired soul fire, emerging interpretative grace and vocal sophistication. • 180 gram audiophile vinyl • Remastered audio |
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Music On Vinyl Records 2011 | LP | 20.00 € |
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| Arthur Big Boy Crudup - Sunny Road recorded 1969 |
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Delmark Records 2013 | CD | 18.00 € |
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| Arthur Conley - I'm Living Good - The Soul Of Arthur Conley 1964-1974 Like several of his 60s peers, Arthur Conley’s career was damned by the success of one record – in his case, ‘Sweet Soul Music’. For many on the periphery of soul music, that song was the beginning and the end of Arthur’s career and overexposure may have coloured their judgement of quality of the other records he made before and after it. Happily, the soul hardcore has always been able to see beyond a hit and Arthur has long been a hero to collectors for the kind of music that makes up this great new Kent compilation “I’m Living Good” showcases a side of Arthur’s catalogue those familiar with his funky dancefloor favourites don’t always know – that of a Premier League deep soul man. Not every track is down-tempo, but each one is a representation of Southern Soul at its most forthright and creative. If you only know, say, ‘Sweet Soul Music’ or ‘Funky Street’, it will be a revelatory experience. We have left no stone unturned in our attempts to bring you 100% top quality Conley. Almost every phase of the man’s solo career is represented, over a span of almost 10 years across the Ru-Jac, Jotis, Fame, Atco and Capricorn labels. These tracks were produced by Otis Redding, Booker T Jones and Stax boss Jim Stewart, Rick Hall, Tom Dowd, Johnny Sandlin, Clarence Carter and Swamp Dogg – which itself is all the qualification anyone should need as to their superiority. Many are being reissued here for the first time. Highlights abound, from both sides of the ultra-rare Ru-Jac 45 (of which there are less than five documented copies) to the intense ‘If He Walked Today’, previously only available on a South African LP and 45. Those who turn their 45s over will not need to be sold on the virtues of ‘Let’s Go Steady’, ‘Love Comes And Goes’, ‘Put Our Love Together’ or ‘Is That You Love’, which were all first released as flips to massive club hits. My favourites include ‘Otis Sleep On’, an emotional salute to Arthur’s then-recently demised mentor and chief career booster Mr Redding, and the wonderful ‘Walking On Eggs’, one of the best examples of a Swamp Dogg song (and title!) ever to find its way out of the ever-active brain of Jerry Williams Jr. Really, though, this is a CD you can pluck anything from and come up with a winner. As always, we’ve gone to town on the booklet, which contains label shots and picture sleeves from all over the world and previously unpublished photos taken inside FAME studios in the 60s and London in the early 70s. Even those who already have some of these tracks on the CD issues of Arthur’s albums will find plenty to get excited about here. The overdue public reappraisal of this important soul brother begins here. Do you like good music? Yeah, yeah! By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Arto Vilkko: Emmaa Etsimässä - Suomalaisen Rautalangan Lyhyt Historia Rautalanka – suomirockin alkusoitto Emmaa etsimässä -kirja on elävä kuvaus 1960-luvun alun Suomesta ja siitä, miten rautalankamusiikki syntyi. Teinipoikaporukat kipuavat kellareista lavoille. Nuoriso twistaa uuden ajan merkiksi. Tangokansa paheksuu. Emma nousee listaykköseksi. Suomirockin alkusoitto on totta. Kirja kertoo perusteellisesti ja inhimillisesti suomalaisen rautalangan historiasta ja sen pääosassa ovat ensimmäisissä sähkökitarakokoonpanoissa soittaneiden muusikoiden haastattelut. Sujuvasti kirjoitettu tarina on värikäs aikamatka 60-luvulle. Emmaa etsimässä on jokaisen rautalankafanin käsikirja. Mutta se sopii myös sinulle, joka haluat ymmärtää, kuinka suomalainen nuorisomusiikki oikeasti syntyi. |
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Back To The Sixties Ry 2013 | Kirjat | 25.00 € |
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| Balfa Brothers - Balfa Brothers Play Traditional Cajun Music Some projects take on a happy life of their own, and this is one of them. In the summer I was approached to supervise the revamp of the old Balfa Brothers’ 2 LPs-on-1 CD, released in the early days of CD production in 1990. Specifically, I was asked if Louisiana musician and author Ann Savoy would be available to write a new essay. If she was able to take on the task, she would be the perfect choice. After all, she had known and played with the Balfas and had written up their story in her acclaimed book, Cajun Music: A Reflection of a People. Yet I knew she was embarking on a UK tour as a member of the Savoy Family Band, with husband Marc and sons Joel and Wilson. Would she have the time? Not only did she accept the commission with charm and alacrity, but she met her deadline with ease. Now even more light is shed on the Balfas’ fascinating story, as fully documented in the booklet (with great photos, label shots, LP reproductions and Cajun French-English lyric translations). The mastering, of course, has also been updated and upgraded. What made the original LPs so important is that they marked a return in the 1960s and 1970s to traditional Cajun music, which had been left behind by the Cajun honky-tonk sound, itself on life support. The back story here is that leader and virtuoso fiddler Dewey Balfa convinced Swallow Records boss, Floyd Soileau, to record the brothers when Floyd was reminded that Dewey had recorded an in-demand but long unavailable Cajun song, ‘La Valse De Bon Baurche’, for Khoury’s Records way back in 1951. It came out on Swallow in 1965 as ‘Drunkard’s Sorrow Waltz’, the Balfas’ first single. The 1965 and 1974 Swallow albums ensued and are presented here with two rare 45s from 1977 and 1980. The latter single features all-time-great accordion player Nathan Abshire, with whom Dewey recorded and played for many years. How did Ann Savoy first encounter Dewey? And what are her thoughts on the Swallow LPs? Let her explain: “I met Dewey Balfa before I heard his music. He came into Savoy Music Center [outside Eunice] looking very French and elegant in a fedora and black sunglasses. He was just stopping by for a cup of coffee and a visit but I was so impressed by him, his beautiful French, his character. He and Marc were close friends and so we often cooked suppers together and played music in the yards of our houses. “I heard his LPs later and immediately fell in love with them. After spending many evenings in Cajun honky-tonks the acoustic feeling of the Balfa Brothers music was refreshing. In these recordings without amplification I could hear the natural resonance of the instruments and the subtleties in the vocals. They also played songs not heard in the dance halls: haunting, sad songs. These LPs were jewels, and I was very touched by them. “I travelled all over the United States and France with Dewey and Rodney when Marc was playing accordion and twin fiddle with them. These were exhilarating times; great fun and full of camaraderie. And of course the music was brilliant. We also went through tragedies with Dewey: the deaths of brothers Rodney and Will, and Dewey’s wife Hilda. But he always bounced back, full of energy and fun until his own illness at the end of his life. “It is amazing to see these great LPs reissued on Ace Records in England. This music is so timeless, and bringing it out again on CDs makes it available to a whole new generation of Cajun fans and musicians. The Balfa Brothers’ music will never grow old because it is classic quality, speaking stories that resonate with all people as long as there are humans on the earth.” I think you can understand what I mean about this being a special project. By John Broven and Ann Savoy (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Balloon Farm - A Question Of Temperature / Hurtin' For Your Love Fantastic repro 45 of 60's Garage-psych single with cool picture sleeve art! Colour vinyl |
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Get Hip Records 2011 | Single/EP | 9.00 € |
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| Barbara Lynn - Here Is Barbara Lynn originally released 1968. |
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Warner Music Japan 2012 | CD | 17.00 € |
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| Beach Boys - Pet Sounds CD + DVD. 40th Anniversary 14 tracks in Mono 13 tracks in Stereo DVD - 4 videos, photo gallery + audio program. video 53 min |
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Capitol Records 2006 | CD | 25.00 € |
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| Beach Boys - Surfin' Safari LP + CD |
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Doxy Music 2013 | LP | 22.00 € |
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| Big Bill Broonzy, Sonny Terry, Brownie McGhee - Blues With Big Bill Broonzy, Sonny Terry, Brownie McGhee |
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Doxy Music 2012 | LP | 18.00 € |
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| Big Mama Thornton - The Complete 1950-1961 2CD |
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Le Chant Du Monde 2013 | CD | 18.00 € |
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| Bill Doggett - Honky Tonk Popcorn James Brown has never really been portrayed as a sympathetic man, but for a short period in the late 60s he was suddenly taken by a sense of duty to artists who had been fixtures at King Records when he was first signed there over a decade earlier. First up was his tribute album “Thinking About Little Willie John And A Few Nice Things”, which mixed originals with versions of songs John had first sung. Next he began working with Hank Ballard, who had been signed to King since 1953; the collaboration produced the LP “You Can’t Keep A Good Man Down”. He then produced a couple of sides with organist Bill Doggett, who’d reached #1 R&B/#2 Pop with his 1956 instrumental ‘Honky Tonk’. A hit of that size meant that Doggett was never short of gigs, and in its aftermath he reached the R&B Top 20 five more times. In 1960 he left King, signing to Warner Brothers, then with Columbia in 1962 and Sue Records in 1964. In the meantime, King kept up a steady release schedule of Doggett records and he re-signed with them in 1965, staying for two years. 1969 saw him back again at King for another couple of years. Doggett’s recordings from this period took two distinct paths: some were almost cheesy easy listening sides, while others suggested he was keeping up with modern trends. The most obvious manifestation of this was his collaboration with James Brown and his JBs, who were incredibly tight on the top-side of the super-rhythmic ‘Honky Tonk Popcorn’. The popcorn was Brown’s dance rhythm of the year: he had made #1 R&B with ‘Mother Popcorn’, #2 with ‘Let A Man Come In And Do The Popcorn’. The B-side of the single was Doggett’s funk update of ‘Honky Tonk’, which worked even better than Brown’s own 1972 remake. King then gathered up a bunch of recent Doggett recordings to make the “Honky Tonk Popcorn” album. It was marketed as a James Brown production but, other than the two single sides, it contained no cuts produced by Brown. Instead it featured a fascinating mix of grooves that evoke smoky clubs and juke joints. ‘Mad’ and a scorching version of Edwin Starr’s ‘Twenty Five Miles’ were released as singles. For this reissue we’ve turned up five bonus tracks. Of these, ‘Before Lunch’, ‘Short Stack’ and ‘Some Kind Of Head’ were lined up for inclusion on an album to be called “Take Your Shot”, but we’re pretty sure this did not make it past the planning stage and was replaced by “Honky Tonk Popcorn”, with these three dropped to make room for the two James Brown-produced cuts and ‘Twenty Five Miles’. ‘Before Lunch’ sounds like the finest record Booker T & the MGs forgot to make, while ‘Short Stack’ ups the pace to frantic. Best of all is the brilliant ‘Some Kind Of Head’, which takes the feel of a Stax instrumental. The other bonus tracks, ‘Sassy B’ and ‘Wet And Satisfied’, offer a fascinating insight into the history of Funkadelic. In the time between recording Funkadelic’s first two albums guitarist Eddie Hazel and bass-player Billy Nelson left the group. Nelson joined Doggett’s band for a short time. Until now Eddie Hazel’s participation on a Doggett session was unknown. However, the songwriting credits and the guitar style suggest that he too was working alongside Nelson and Doggett. The ‘Honky Tonk Popcorn’ single and album did not return Doggett to the charts, but he remained active. He kept recording and toured until the year he died. He tended to revert to the style which made him famous: the 50s boogie shuffle that had been the basis of his defining hit. When he died on 13 November 1996 his short sojourn into funk was largely forgotten except by a few clubbers around the world who coveted this in-demand LP. By Dean Rudland (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| Billy Fury - The Rocker 22 tracks |
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Delta Leisure Group 2011 | CD | 7.00 € |
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| Billy Fury - The Sound Of Billy Fury |
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Hallmark Music 2011 | CD | 7.00 € |
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| Billy Fury - Turn My Back On You 23 tracks |
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Snapper Music 2011 | CD | 8.00 € |
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| Blues Magoos - Electric Comic Book GARAGE/PUNK/PSYCHEDELIA PIONEERS! LIMITED EDITION OF 1000 COPIES ONLY! The Blues Magoos launched their recording career with the LP Psychedelic Lollipop. The equally impressive Electric Comic Book refines the band's mix of rock ’n’ roll and day-glo psychedelia. That punchy yet playful approach animates such distinctive numbers as “Pipe Dream,” “Rush Hour,” “There’s a Chance We Can Make It” and “Albert Common Is Dead.” This ’60s garage-psych nugget is now available on Sundazed as a Limited Edition compact disc (1000 copies only!), sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced. In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums. |
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Sundazed Music 2011 | CD | 20.00 € |
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| Blues Magoos - Electric Comic Book The Blues Magoos launched their recording career with the LP Psychedelic Lollipop. The equally impressive Electric Comic Book refines the band's mix of rock ’n’ roll and day-glo psychedelia. That punchy yet playful approach animates such distinctive numbers as “Pipe Dream,” “Rush Hour,” “There’s a Chance We Can Make It” and “Albert Common Is Dead.” Sundazed’s new vinyl edition also features a replica of the original comic book that was packaged with the album’s original pressings. This ’60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced. In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums. |
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Sundazed Music 2011 | LP | 20.00 € |
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| Blues Magoos - Psychedelic Lollipop GARAGE/PUNK/PSYCHEDELIA PIONEERS! LIMITED EDITION OF 1000 COPIES ONLY! The Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem "(We Ain't Got) Nothin' Yet." That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word "psychedelic" in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as "Gotta Get Away," "One by One" and "Love Seems Doomed." And the Magoos' high-energy workouts on James Brown's "I'll Go Crazy" and John Loudermilk's "Tobacco Road" rank with the greatest versions of those much-covered garage-band standards. This ’60s garage-psych nugget is now available on Sundazed as a Limited Edition compact disc (1000 copies only!) sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced. In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums. |
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Sundazed Music 2011 | CD | 20.00 € |
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| Blues Magoos - Psychedelic Lollipop The Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem "(We Ain't Got) Nothin' Yet." That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word "psychedelic" in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as "Gotta Get Away," "One by One" and "Love Seems Doomed." And the Magoos' high-energy workouts on James Brown's "I'll Go Crazy" and John Loudermilk's "Tobacco Road" rank with the greatest versions of those much-covered garage-band standards. This ’60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced. In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums. |
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Sundazed Music 2011 | LP | 20.00 € |
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| Bo Diddley - Is An Outlaw |
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Checker 2012 | LP | 18.00 € |
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| Bo Diddley - Is Loose |
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Checker 2012 | LP | 18.00 € |
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| Bob Dylan - Folk Singer-Humdinger - Just About As Good As It Gets 2CD |
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Smith & Co 2013 | CD | 15.00 € |
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| Bob Luman - Let's Think About Living |
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Hallmark Music 2012 | CD | 6.90 € |
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| Bobby "Blue" Bland - It's My Life, Baby - The Singles A's & B's 2CD One of the greatest of all American R&B singers and still performing and recording today at the age of 80. This is the first ever collection to compile all of his singles A and B sides on one 2CD set from his first in 1951 to the end of 1960. Includes many of his greatest hits like, 'Further on up the Road', 'I Pity the Fool' and 'I'll Take Care of You'. Fully detailed liner notes detail Bobby's rise to fame. |
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Jasmine Records 2011 | CD | 12.00 € |
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| Bobby Bland - Two Steps From The Blues originally released 1961 |
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Doxy Music 2012 | LP | 20.00 € |
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| Bobby Charles - After A While, Crocodile.. The 50s Anthology 33 tracks |
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Great Voices Of The Century 2010 | CD | 10.00 € |
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| Bobby Darin - Original Album Series 5CD |
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Rhino Records 2011 | 2-CD | 23.00 € |
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| Bobby Darin - Sings Ray Charles |
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Hallmark Music 2013 | CD | 5.90 € |
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| Bobby Fuller And The Fanatics - Stringer / The Chase Pummeling surf instrumental twin spin from Bobby’s El Paso home studio! Unbeatable! |
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Norton Records 2011 | Single/EP | 6.00 € |
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| Bobby Marchan - Get Down With It - The Soul Sides 1963-67 Many of the biggest names in 1950s R&B and rock’n’roll enjoyed careers that sustained well into the soul era. Little Richard and Larry Williams both did, of course, as did Jackie Wilson, Solomon Burke and Joe Tex, who, let’s face it, didn’t really hit their stride until soul came along to reveal their full capabilities. You can also include Bobby Marchan in that number. The former front man of Huey “Piano” Smith’s Clowns was quick to embrace the coming changes in black American music, via a series of classic singles for Bobby Robinson’s Fire label that included, if not the first then certainly the finest version of, ‘There’s Something on Your Mind’ in 1960. As the decade progressed, Bobby got even more soulful. After leaving Fury he hooked up with Stax and then Dial Records, for whose boss and producer-in-chief, Buddy Killen, he recorded frequently, and always with splendid results. Many Killen-produced sessions ended up on Cameo, giving the Philadelphia label a welcome if unlikely foot in the door of the house that Southern Soul was building below the Mason-Dixon line. The recordings Bobby made between 1963 and 1967 found him recording at three of the premier locations for soul music: Stax and American in Memphis and FAME in Muscle Shoals. Almost all of his recordings of the period bear the stamp of those studios, and almost all are truly great. “Get Down With It” finally brings them all together in the same CD, and not before time. The floor-friendly 1964 title track, which Bobby’s friend Little Richard later revamped into a template for UK group Slade’s breakthrough chart-topper, is probably Marchan’s best-known track here (albeit not the biggest hit, surprisingly). Other strong uptempo highlights include the FAME-recorded groover ‘Funny Style’ and, from a later period, Bobby’s remake of ‘Rockin’ Pneumonia’ (now with added Boogaloo Flu!). We’re also delighted to finally premiere the remaining two unissued sides from Bobby’s second Volt session (after a mere 48-year delay) and feel that Marchan aficionados will get a huge belt out of his version of Paul Perryman/Clyde McPhatter’s ‘Just To Hold My Hand’, just as I did when I heard the tape for the first time not so long ago. Wonderful as these are, it’s the ballads that really bring the set home and underscore Marchan’s relevance and importance to 60s soul. He was simply born to sing songs such as Joe Tex’s ‘Meet Me In Church’ and Paul Kelly’s ‘There’s Something About My Baby’ over those sublime rhythms laid down in Muscle Shoals and Memphis. This music is simply timeless and it’s a pleasure to be able to have it all in one place for the first time ever. Some still believe that all there was to Bobby were his novelty hits with the Clowns. “Get Down With It” disproves any such notions immediately and confirms his standing as a true great of Southern Soul. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Bobby Rydell - Bobby Rydell Salutes The Great Ones / Rydell At The Copa Before Tamla/Motown, there was Cameo/Parkway. A groundbreaking Philadelphia imprint, the label churned out an astonishing number of huge hits (most written in-house) during its 12-year heyday and turned a gaggle of unknown young locals into stars. Sound familiar? Although primarily remembered for its myriad dance craze hits, the catalogue actually encompasses the whole of rock’s golden era: instrumentals, novelties, doo wop, girl groups, soul, teen idols, British Invasion, garage bands and bubblegum, etc. Label honchos Bernie Lowe, Kal Mann and Dave Appell spared no expense, releasing singles with beautiful colour picture sleeves and flooding the market with an unprecedented torrent of LPs. Cameo-Parkway material has been unavailable for decades, and collectors have waited impatiently for many years for the hits to make their digital debut. A label overview in 2005 and a few subsequent hits packages skimmed the surface. Out this month on Ace are 10 full albums on five CDs, along with a compilation of vocal group classics. The floodgates are now open, and it’s just the tip of the iceberg. Bobby Rydell was the quintessential teen idol, but there was a lot of talent under that pompadour. These two 1961 LPs find a 19 year-old Rydell courting our parents by singing “real” music, a path already well-worn by such artists as Sam Cooke, Bobby Darin and Jackie Wilson. “Salutes The Great Ones” harkens back to the Al Jolson era and Rydell has the vocal chops to pull it off. “At The Copa” displays the comedy and impersonation skills that made Rydell a movie star and frequent sitcom guest and packages his teen hits in an imaginative medley. By Dennis Garvey (from ACE Records website) |
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Ace Records 2010 | CD | 17.00 € |
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| Bobby Sheen - Anthology 1958-1975 At last a Bobby Sheen anthology! Comprising recordings that stretch from Sheen’s debut lead vocal via his Phil Spector period to his final single, this sweeping collection covers a variety of styles that range from doo wop and the Wall of Sound to Northern and Southern soul. The earliest tracks here were cut by Bobby as the lead vocalist of the Robins, the group he joined as a 16 year-old in 1958. The influence of Clyde McPhatter is very evident on these sides, especially ‘Live Wire Suzy’ (a Belgian popcorn favourite) and the group’s lively take on ‘The White Cliffs Of Dover’. By 1962 Sheen was working with Spector, initially on a one-off 45 for Liberty Records. Sharing lead vocal duties with Darlene Love, he reached the Top 10 later that year with ‘Zip-A-Dee Doo-Dah’, released as by Bob B Soxx & the Blue Jeans on the producer’s Philles logo. He also contributed a soaring version of ‘The Bells Of St Mary’ to Spector’s classic “A Christmas Gift For You” LP. The McPhatter influence is still evident on ‘I Want You For My Sweetheart’ and ‘My Shoes Keep Walking Back To You’, released as a one-off single on the Dimension label in 1965. A contract with Capitol resulted in a handful of singles including the Northern Soul favourite ‘Dr Love’ (released in the UK in the now very collectable Capitol Discotheque ’66 series). This compilation also boasts two previously unissued Capitol sides: ‘Baby I’ll Come Right Away’ (the wonderful Ashford/Simpson song well-know to soul fans via Mary Love’s reading) and the slow blues ‘Don’t Pass Me By’. As the 60s came to a close, Bobby switched from his high tenor to a more contemporary lower register, cutting great tracks for Warner Bros in Muscle Shoals, Alabama with producers Clayton Ivey and Terry Woodford. His superb recordings of Philip Mitchell’s ‘Something New To Do’ (another Northern anthem) and ‘I May Not Be What You Want’ are among his best work. He sounds totally different again on ‘Don’t Make Me Do Wrong’. The Ivey/Woodford team also produced Bobby swansong single, issued on the Chelsea label in 1975. The performances collected here are proof that Bobby was a singer who deserved a much higher profile than he achieved. Despite his great looks, obvious talent and strong music business connections, he never registered a hit record in his own name. This CD redresses the balance and proves that all Bobby lacked was good luck. Years spent as a member of the Coasters kept him in work until his untimely death from pneumonia in November 2000. His son Charles has become the custodian of his father’s legacy and contributed the wonderful photographs that illustrate the CD’s accompanying booklet, which features an essay by Dennis Garvey built around exclusive interviews with many of Bobby’s friends and colleagues. By Simon White (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Bobby Vinton - Roses Are Red |
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Hallmark Music 2013 | CD | 6.00 € |
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| Bonnie Dobson - Vive La Canadienne (1-CD DigiPac - four panel - with booklet, 24 tracks. Playing time: 81:50) -- A long-overdue reissue of the rare folk recordings of Canadian singer Bonnie Dobson. Her 1961 composition 'Morning Dew' continues to draw attention and praise. Her 1960s recordings such as 'Live At Folk City ' reflect the American folk music boom at the height of its creativity and popularity. Her 1964 and 1972 folk albums are combined here, with previously unissued recordings. -- Bonnie Dobson is best known as the composer of 'Morning Dew'. Written in 1961, 'Morning Dew' was subsequently recorded by artists including The Grateful Dead, Clannad, Nazareth, Tim Rose, Lulu, Jeff Beck and Robert Plant. -- Always a well-respected figure within the folk scene, Dobson was born in Toronto, Canada in 1940. 'I was nurtured on the music of Paul Robeson. I have a memory of standing next to the record player and singing along to 'I Still Suits Me'. I guess I must have been about four years old at the time.' -- When she was barely 20 Dobson went from singing at school assemblies to sharing a stage with Sonny Terry & Brownie McGhee at a major US folk festival. Although she lacked professional experience, the pristine quality of her voice attracted promoters and producers to her. Her earliest albums, including a live performance at Gerdes Folk City in New York's Greenwich Village, continue to draw praise. -- Her final American albums drew Dobson away from the pure folk tradition in the direction of popular music. She recalls, 'The last recordings I made were my RCA albums in 1968/69, both of which were heavily orchestrated.' Despite the change in production style, what strikes listeners most about Dobson is the stellar quality of her voice. Producer Bobby Scott writes, 'It has always seemed to this writer that music is the language of this thing we call love. And nothing can compare with the voice of love speaking through a beautifully pure instrument. The voice of Bonnie Dobson is such an instrument. Her gifts are remarkably natural. There is in this Canadian girl's voice an innate enchantment. For some singers the voice must be a developed mechanism. Not so with Miss Dobson. Her voice........can only be called a gift.' -- Bonnie Dobson moved to London, England in 1969 and gave up writing and performing shortly afterwards. She began her second career at the University of London, working and studying in the fields of politics, philosophy and history. -- It's been too long since the name Bonnie Dobson has graced a CD release. To folk fans, her name is familiar and her talent is well respected. If this is your first encounter with her you are in for a rare experience. As producer Bobby Scott concludes, 'Bonnie Dobson is an artist. Not just a singer but a bit of Autumn wind and Summer rain and she is as natural. I am sure that Love has had no sweeter or warmer champion than Bonnie Dobson'. |
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Bear Family 2010 | CD | 17.00 € |
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| Bonnie Guitar - Intimate Session - 1-CD Digipak (4-plated) with 28-page booklet, 14 tracks. Playing time: 31:54. - An intimate session with one of the unheralded greats of country music! Sexy, sultry, and riveting! A previously unissued 1959 session arranged and produced by one of the era's top songwriters, Don Robertson. -- In 1957, Bonnie Guitar recorded the haunting original version of Dark Moon. Two years later, she signed with RCA Victor and recorded several sessions with a small band of Los Angeles session veterans, augmented by voices on one session, and strings on another. The result was some of the most blissfully poignant vocals ever committed to tape. On a par with Julie London, Peggy Lee, or any of the era's finest female artists. Singing in her languid ultra-lounge style and playing her white Gretsch Country Club guitar, Bonnie brought her distinctive, sultry vocal style to songs that were originally hits for The Ink Spots ('Maybe') and Sanford Clark ('The Fool'); plus newer material from young songwriters like Hal David, Jeff Barry, and Harlan Howard. To that, she added a couple of her own originals. Four of these sides were released as singles; the rest remained unreleased in their original form until now. With new input from Bonnie Guitar, Todd Everett's liner notes tell the whole story. |
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Bear Family 2012 | CD | 18.00 € |
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| Booker T. & The MG's - The Memphis Soul Sound Of |
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Vinyl Passion 2013 | LP | 13.00 € |
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| Brian Hyland - Sealed With A Kiss |
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Hallmark Music 2013 | CD | 6.00 € |
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| Brigitte Bardot - L'Appareil A Sous + B.B. 2 CD |
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Mercury Records 2010 | CD | 15.00 € |
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| Brook Benton - A Rockin' Good Way Vol. 1 - The Singer |
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El Toro Records 2012 | CD | 17.00 € |
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| Brook Benton - A Rockin' Good Way Vol. 2 -The Songwriter |
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El Toro Records 2012 | CD | 17.00 € |
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| Brothers Four - Greenfields 2CD Greenfields and Other Folk Greats - First Five Albums Featured here, as the title suggests, are a plethora of Folk greats including the groups hit singles 'Greenfields' and 'The Green Leaves of Summer' and many standards and popular songs all given The Brothers Four's stylish touch. In fact across this 2CD set we have crammed no less than five complete albums! Original founding member, Bob Flick still leads a Brothers Four group today and this is your chance to grab yourself the best overview you could find of their first couple of years at the top. |
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Jasmine Records 2013 | CD | 15.00 € |
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| Buck Owens - Open Up Your Heart 7CD (7-CD box set with 120-page book, 249 tracks, playing time: 433:20) The Bear Family treatment carries on: This second set includes Buck's COMPLETE studio recordings 1965-1968. Singles, LPs, unreleased songs! It also includes the COMPLETE Buckaroos recordings. All his history-making hits, as Only You Can Break My Heart, Buckaroo, Waitin' In Your Welfare Line, Open Up Your Heart, Where Does The Good Times Go, Sam's Place, It Takes People Like You and many more, plus the rarities that only Bear Family uncovers! Hear Buck and the band in session with legendary producer Ken Nelson! -- Before he died in 2006, Buck Owens had wanted Bear Family to chronicle his career as only we can. Now it has happened! This collection brings forth the Big Bang of Bakersfield country music. This is how it happened, record by record, session by session! -- The second volume of the complete Buck Owens, this 7-CD set includes all of Buck Owens' studio recordings for Capitol from March 1965 until December 1968. This was his golden era when almost every single went to #1 on the country charts. The hits on this volume include such all-time classics as Only You Can Break My Heart, Buckaroo, Waitin' In Your Welfare Line, Open Up Your Heart, Where Does The Good Times Go, Sam's Place, It Takes People Like You, and many more. -- This set also includes complete LPs, such as 'I've Got You On My Mind Again,' 'Before You Go / No One But You,' 'Open Up Your Heart' and 'Your Tender Loving Care' as well as the Buckaroos' LPs, featuring the great Doyle Holly, Don Rich, and Tom Brumley. Staying well away from the pop-country Nashville Sound, Buck Owens was unapologetically country to the core. His catchy, hook-laden songs were framed by Don Rich's vocal harmonies and biting Telecaster guitar leads and Tom Brumley's crisp steel guitar. The set also includes previously unissued alternate takes and all surviving unissued songs. -- Drawing upon his extensive interviews with Owens, his sidemen and business associates, country music historian Rich Kienzle provides a frank and detailed overview of Owens' career. A complete discography and many previously unpublished photos are also included in a lavish hardcover book. |
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Bear Family 2010 | CD-Box | 145.00 € |
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| Buck Owens - Under His Spell - The First Five Years 1956-1961 2CD The First Five Years Buck Owens was the leader of the Bakersfield sound with his own interpretation of the honkey tonk sound that was to become popular in the'60s. Includes the albums: Sings Harlan Howard & Buck Owens and all the early 45s on one CD set for the first time. Plus his rockabilly tracks as Corky Jones. Features several top ten country singles including: 'Loose Talk'; 'Mental Cruelty' & 'Under the Influence of Love'. |
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Jasmine Records 2012 | CD | 15.00 € |
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| Buddy Holly And The Crickets - That Makes It Sound So Much Better ! Buddy Holly with The Jack Hansen Combo: THAT MAKES IT SOUND SO MUCH BETTER - CD version. Buddy Holly's 'apartment tapes' are well-known, particularly the six songs he wrote in December 1958 and recorded on his Ampex 401A tape-recorder. These were heard first in the overdubbed versions produced by Jack Hansen in 1959 and 1960. Many fans prefer Buddy's original guitar and vocal demos to the later overdubbed versions. But the Jack Hansen versions - using some of New York's finest session musicians, who were never really a Combo - are still the ones that most fans remember. There were many flaws in the overdubbing, emphasised by the fact that Buddy Holly never envisaged the tracks he made being used to create commercial releases and thus did not stick to strict tempo timing. And the equipment used to mix the original 3-track tapes was primitive compared to today's computer-based technology. Modern technological advances have enabled us to remix the tracks and errors in timing have also been corrected by producer Chris Hopkins. Chris spent many hours on each track, creating the best versions you will ever hear of the six recordings. All have been remixed into mono and stereo versions ... you will hear instruments you never heard before and the overall quality will surprise you! The CD comes with a 36-page illustrated booklet with full details about the recordings and the re-mastering process. Note that tracks are arranged so that the songs can be played without the count-ins and studio chatter. This album is also available in 10" vinyl |
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Rollercoaster Records 2011 | CD | 18.00 € |
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| Buddy Holly with The Jack Hansen Combo - That Makes It Sound So Much Better! Buddy Holly with The Jack Hansen Combo: THAT MAKES IT SOUND SO MUCH BETTER - 10" vinyl LP. Buddy Holly's 'apartment tapes' are well-known, particularly the six songs he wrote in December 1958 and recorded on his Ampex 401A tape-recorder. These were heard first in the overdubbed versions produced by Jack Hansen in 1959 and 1960. Many fans prefer Buddy's original guitar and vocal demos to the later overdubbed versions. But the Jack Hansen versions - using some of New York's finest session musicians, who were never really a Combo - are still the ones that most fans remember. There were many flaws in the overdubbing, emphasised by the fact that Buddy Holly never envisaged the tracks he made being used to create commercial releases and thus did not stick to strict tempo timing. And the equipment used to mix the original 3-track tapes was primitive compared to today's computer-based technology. Modern technological advances have enabled us to remix the tracks and errors in timing have also been corrected by producer Chris Hopkins. Chris spent many hours on each track, creating the best versions you will ever hear of the six recordings. All have been remixed into mono and stereo versions ... you will hear instruments you never heard before and the overall quality will surprise you! The LP comes with a four-page illustrated booklet with full details about the recordings and the re-mastering process. |
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Rollercoaster Records 2011 | 10" LP | 17.00 € |
