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Uusimmat julkaisut - 1960-luku

Result of your query: 298 products

1 - 2 - 3 - 4 - 5 - 6
Bettye Swann - The Complete Atlantic Recordings
Real Gone Music 2014 CD 18.00 €
Elvis - The Man And His Music - # 103 - March 2014
he Denver Connection Part 2 - Ron Pietrafeso interview • 
"Exclusive Photos! Intimate Secrets!" - Vintage magazine covers • 
Rick Husky interview • Your letters
From The Time - 1957
 • CD, DVD & Book Reviews
EMM103 2014 Lehdet 7.00 €
Elvis Presley - The Movie Soundtracks 20 CD
20 CD:tä - Elviksen leffamusiikit paristakymmenestä leffasta

The box set includes:
-Loving You (1957)
- Jailhouse Rock
- King Creole (1958)
- G.I. Blues (1960)
- Follow That Dream (1961)
- Blue Hawaii (1961)
- Girls! Girls! Girls! (1962)
- It Happened At The World's Fair (1963)
- Fun In Acapulco (1963)
- Kissin' Cousins (1964)
- Viva Las Vegas (1964)
- Roustabout (1964)
- Girl Happy (1965)
- Harum Scarum (1965)
- Frankie And Johnny (1966)
- Paradise Hawaiian Style (1966)
- Spinout (1966)
- Double Trouble (1967)
- Clambake (1967)
- Speedway (1968)
('Flaming Star', 'Follow That Dream' and 'Kid Galahad' in compilation on 'Follow That Dream').
Sony Music Entertainment 2014 CD-Box 50.00 €
Everly Brothers - It's Everly Time !
WaxTime Records 2014 LP 18.00 €
Four Seasons - Valli's Peaks
Fifty years after the event it is difficult to comprehend just how big an act The Four Seasons were to America in 1962 and indeed throughout the pre British Invasion period before The Beatles arrived in 1964. Frankie Valli, Bob Gaudio, Nick Massi and Tommy De Vito were the biggest pop act the US had seen since Elvis.

Here on one CD is the story of their breakthrough year via the medium of their first two LPs which include three No. 1 singles: 'Sherry'; 'Big Girls Don't Cry' and 'Walk like a Man' plus many other great songs.

Fully detailed liner notes outlining their development.
Jasmine Records 2014 CD 13.00 €
Jerry Lee Lewis - Up Through The Years 1956-1963
Up Through The Years 1956-1963 includes such hits as "Whole Lot Of Shaking Goin' On", "Great Balls Of Fire" and "Breathless", but also The Killer's Sun debut "Crazy Arms", his take on Chuck Berry's "Little Queenie" as well as his very own composition "End Of The Road".

180 gram audiophile vinyl
Music On Vinyl Records 2014 LP 20.00 €
Joe Turner - The Real Boss Of The Blues
When producer Bob Thiele launched Flying Dutchman Records in 1969, he also introduced two other imprints to give his new company depth and breadth: Amsterdam for pop material and Bluestime to concentrate on the developing blues boom. Thiele had been in charge of ABC’s Bluesway label, where he had made records with many vintage blues artists. He opened Bluestime with albums by three of those performers: “The Real Boss Of The Blues” by Joe Turner, “Sweet Giant Of The Blues” by Otis Spann and “Every Day I Have The Blues” by T-Bone Walker.

Joe Turner had an unusual and lengthy career. He started out in the 1920s as a singing bartender in his hometown of Kansas City, where he was discovered by John Hammond, becoming a sensation upon moving to New York in the late 30s. Signing with Atlantic Records at the age of 40, he became an unlikely star in the early days of rock’n’roll, scoring big R&B hits with ‘Honey Hush’, ‘Corrine, Corrina’ and ‘Shake, Rattle And Roll’. When success faded he went back to playing with big bands until the late 60s blues revival arrived.

Bob Thiele’s plan was to update Turner’s style and sell him to the students who considered Eric Clapton and Peter Green the new sound of the blues. He did this with subtlety and great understanding of the music. The rhythm section played in a contemporary, slightly funky mode, but always with the song in mind. There were updates of a few Turner classics – ‘Shake, Rattle And Roll’ really smokes – and some first-rate contemporary material, including ‘Plastic Man’, a 10-minute blues which allows everyone to stretch out. “The Real Boss Of The Blues”, presented here with two bonus cuts from a 1970 concert at Carnegie Hall, is a masterful demonstration of the blues singer’s craft.

By Dean Rudland (Ace Records)
Ace Records 2014 CD 14.00 €
John Leyton - Johnny Remember Me
Singing actor John Leyton (Biggles, The Great Escape, Guns At Batasi, Von Ryan's Express, Jericho, Krakatoa East Of Java, etc.) topped the charts for 4-weeks in the summer of 1961 with the haunting, dramatic, ethereal 'Johnny Remember Me', a song written by Geoffrey Goddard, arranged by Charles Blackwell, and produced by legendary maverick indie producer, Joe Meek.

The same team collaborated on John's subsequent hits 'Wild Wind', 'Son This Is She', 'Lone Rider' and 'Lonely City', and standout album tracks like 'Oh Lover' and 'Voodoo Woman'.

Meek had also earlier produced Leyton's cover version of the controversial death disc 'Tell Laura I Love Her', which became the hit version in Scandinavia despite missing out in the UK.

This 32-track compilation comprises all his recordings between 1960-62, featuring nine singles, his fiercely collectable first LP, 'The Two Sides of John Leyton', and a couple of collectors' rarities, including his cancelled debut single 'Three Cute Chicks'.

Nowadays, John is a much-loved regular on the 60s/nostalgia circuit, touring alongside contemporaries like, Marty Wilde, Eden Kane, Joe Brown, etc.
Jasmine Records 2014 CD 13.00 €
Lee Dresser & The Krazy Kats - Beat Out My Love
Here we have the nearest thing to Jerry Lee Lewis. A mixture of rare recordings from 1958 going through his recordings from the sixties through to the modern day! 31 hot rockin' tracks!!
Rockstar Records 2014 CD 15.00 €
Lesley Gore - Girl Talk with Bonus Tracks
The liner notes to Lesley Gore’s “Girl Talk” LP mourn the influx of “twanging guitars, psychedelic sounds and moaning voices” and hails Lesley for “singing in tune” and “pronouncing the lyrics of a song so they are understandable”. This was October 1964, when America was smack in the midst of Beatlemania. Lesley Gore, like so many American artists navigating the music scene, had to contend with the British Invasion, but she managed to weather the changing climate and remain in the Top 20 from ‘It’s My Party’ in early 1963 through to ‘California Nights’ in ’67.

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

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

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

By Sheila Burgel (Ace Records)
Ace Records 2014 CD 18.00 €
Link Wray - Big Box Of Link Wray And More Kings Of Distortion 6CD
Floating World Records 2014 CD-Box 18.00 €
Marv Johnson - You Got What It Takes 2CD
The First Three Albums Plus Bonus Singles

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

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

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

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

Fully detailed liner notes.
Jasmine Records 2014 CD 15.00 €
NOW DIG THIS NO. 372 - March 2014
The A - Z of Gene Vincent's Blue Caps Part 1 • Killer Quillers - Mae Boren Axton • Jerry Lee Lewis - Adding To The Understanding • Rockin' In Chicago Before 1965 - Art Fein remembers • The Story of Gene Barge Part 1 • The Master-Tones - Doc Robinson interviewed • plus CD reviews, Scene Alive, Gig Guide etc
Now Dig This 2014 Lehdet 8.00 €
Otis Spann - Sweet Giant Of The Blues
When producer Bob Thiele launched Flying Dutchman Records in 1969, he also introduced two other imprints to give his new company depth and breadth: Amsterdam for pop material and Bluestime to concentrate on the developing blues boom. Thiele had been in charge of ABC’s Bluesway label, where he had made records with many vintage blues artists. He opened Bluestime with albums by three of those performers: “The Real Boss Of The Blues” by Joe Turner, “Sweet Giant Of The Blues” by Otis Spann and “Every Day I Have The Blues” by T-Bone Walker.

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

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

By Dean Rudland (Ace Records)
Ace Records 2014 CD 14.00 €
Russ Hamilton - We Will Make Love Under A Rainbow
In 1957, several years before the British beat invasion of America, a young singer/songwriter from Liverpool, England, Russ Hamilton, made the US Top 10 with his song 'Rainbow' which reached #4 on Billboard's Hot 100.

Also includes his UK hit 'We Will Make Love' plus many popular songs and standards such as: 'I Had a Dream' `'Tip Toe Through the Tulips', 'The Reprieve of Tom Dooley' and 'Gonna Find Me A Bluebird' which he recorded with the Jordanaires.

Sadly, and despite a hectic touring schedule, Russ Hamilton's rise to fame was a short one and he became disheartened as he was swindled out of a fortune. Today his songs and his biggest hit rarely receive airplay, which we at Jasmine feel is a shame, so sit back and listen to Russ singing the cream of his songs and we're sure that you'll soon be over the rainbow.
Jasmine Records 2014 CD 13.00 €
Shadows - The Shadows plus Out Of The Shadows
two albums + bonus tracks (total 30 tracks) on 1 CD

Clearly one of the biggest influences on surf music as well as British rock & roll, The Shadows were one of the most popular instrumental groups in the world. Their music (aside from their seminal work with Cliff Richard) was always marked by a clean precision that welded rock, R&B, country & western and other influences perfectly, creating a signature sonic texture.

The band was led by the legendary Hank Marvin (with his trademark red Fender Stratocaster guitar), who pioneered the use of portable echo and reverb effects. The group was cited as a major inspiration by such celebrated guitarists as Jeff Beck, Jimmy Page and Mark Knopfler.

This quintessential release includes two of The Shadows' finest LPs for Columbia records: their self-titled debut album, The Shadows (1961), and their follow-up record Out of The Shadows (1962). Both masterpieces have been remastered and packaged together in this very special collector's edition, which also includes 3 bonus tracks from the same period. Here you will find number-one hits (“Apache”, “F.B.I.”, “Dance On!”), rock & roll favorites from the beginning of their career (“Shadoogie”, “The Rumble”), great cover versions of popular songs (“Perfidia”, “South of the Border”), and formidable vocal performances (“Baby My Heart”, “That's My Desire”, and “The Bandit”).

16 page booklet including rare photos, vintage memorabilie and more
Hoodoo Records 2014 CD 15.00 €
Small Faces - Greatest Hits
Charly Records 2014 CD 20.00 €
T-Bone Walker - Every Day I Have The Blues
When producer Bob Thiele launched Flying Dutchman Records in 1969, he also introduced two other imprints to give his new company depth and breadth: Amsterdam for pop material and Bluestime to concentrate on the developing blues boom. Thiele had been in charge of ABC’s Bluesway label, where he had made records with many vintage blues artists. He opened Bluestime with albums by three of those performers: “The Real Boss Of The Blues” by Joe Turner, “Sweet Giant Of The Blues” by Otis Spann and “Every Day I Have The Blues” by T-Bone Walker.

T-Bone Walker was a pioneer of the electric guitar. Born in 1910, his earliest musical experiences were in Dallas, which led to him making a record as Oak Cliff T-Bone in 1929. Moving to Los Angeles in the mid-30s, he became one of the earliest champions of the electric guitar. His records for Capitol, Rhumboogie and Black & White in the 1940s provided the template for players such as B.B. King and his ‘Stormy Monday Blues’ became a much-covered standard.

His hits dried up in the mid-50s when the blues began to be considered old-fashioned, but Walker became one of the first players to be regarded as a serious musician. “T-Bone Blues”, his 1959 LP for Atlantic, was one of the first to be aimed at an intellectual white audience. In the 1960s he became a fixture on the concert circuit and continued to make LPs. “Everyday I Have The Blues”, reissued here with two live bonus live recordings, is one of his best but at the same time one of the least-known. The backing musicians provided by Thiele allowed Walker plenty of space to solo and to sing. The title track is a sharp version of the blues standard and ‘For B.B. King’, a tribute to his disciple, shows off some amazing guitar skills.

By Dean Rudland (Ace Records)
Ace Records 2014 CD 14.00 €
VA: - Come Spy With Us
These days the cinema is full of rubbish action movies where things blow up improbably and frequently and unfunny romantic comedies that are forgotten as soon as the credits roll. The telly’s not much better, full of “celebrities” whose only real celebrity is that they are famous for … well, you tell us. But it wasn’t always like that.

Once you could take your seat in the one-and-nines and see intelligently plotted thrillers in which a suave hero strove to keep the world safe without blowing half of it up. Or you could switch on the box and watch the exploits of an equally worthy hero for 60 gripping minutes in a series that established many fictitious espionage experts as true celebrities.

“Come Spy With Us” salutes the period in question by bringing together songs and themes from the televisual and cinematic worlds of espionage, paying homage to some of the best – and, we admit, one or two of the worst – TV shows and films of the genre’s golden era. Bulldog Drummond, Boysie Oakes, Harry Palmer, Napoleon Solo, Illya Kuryakin, Matt Helm, Modesty Blaise, John Drake, Maxwell Smart, Amos Burke, Derek Flint and, of course, James Bond are among those whose adventures lit up our lives during the 60s and beyond, usually to a soundtrack that remains as memorable as those adventures. Purchase of this compact disc will allow you to relive, if not their adventures, then certainly their theme tunes – many of which have taken on lives of their own outside of the films and TV shows for which they were commissioned.

The 25 individual episodes in our musical mission run the gamut of popular music, from Motown icons (Miracles, Supremes), jazz instrumental maestros (Wynton Kelly, Jimmy Smith), vocal stylists (Cleo Laine, Sarah Vaughan) and twangy guitar kings (Challengers, Al Caiola, Billy Strange) to emperors of honk (Red Price, Johnny Paris and the Hurricanes), 60s pop goddesses (Nancy, Dusty, Maughan and Bassey) and ace orchestrators (John Barry, Roland Shaw, Brian Fahey).

You don’t have to be a member of any secret organisation in order to “Come Spy With Us”. Your license to thrill to the 25 selections you will encounter on this mission – should you choose to accept it – will never be revoked. And we absolutely guarantee this CD will NOT self-destruct within 10 seconds of your playing it.

By Tony Rounce (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Detroit Special - Motor City Roots 2CD
Following on from the success of our first two volumes in the Motor city Roots series comes, 'Detroit Special'.

Features the first two compilation albums ever released by the legendary Motown label plus 36 bonus tracks featuring the superb Motown artists: Barrett Strong; The Miracles; Mary Wells and more.

Also on offer here are many US chart hits from the likes of: Marvin Gaye and The Supremes plus some of the earliest recordings from such artists as: Martha Reeves; Stevie Wonder and once again The Miracles.

Fully detailed liner notes make this another great collector's item.
Jasmine Records 2014 CD 15.00 €
VA: - Doo Wop Across America - Good News 2CD
The latest edition of our hugely popular 'Doo Wop Across America' series this time featuring the R&B group sounds of New Orleans.

Featuring the fantastic R&B sounds of: The Hawks; The Spiders; The Sha-Weez; Sugar Boy Crawford & His Cane Cutters; The Barons. Out of all the groups, The Spiders were the biggest to come out of the city and all their hits are here, including: 'I Didn't Want To Do It'; 'You're The One'; 'I'm Slipping In' and more.

Hear the original versions of: 'Jock-A-Mo' by Sugar Boy Crawford and 'Witchcraft' by The Spiders that was later recorded by Elvis (the pelvis) Presley.
Jasmine Records 2014 CD 15.00 €
VA: - Dusty Heard Them Here First
Dusty Springfield had exceptional taste. Her song choices were always consistently high in quality, and she wasn’t afraid to look to long-forgotten B-sides, demos and album tracks for material. Given her reputation for perfection, it’s no surprise there were so few duds in her catalogue. That so much of it was culled from American soul and R&B artists may be news to many. As Malcolm Baumgart writes in the booklet, “Dusty’s expertise as an interpretive singer prevented her from being viewed as a cover artist,” and it’s hard to believe songs such as ‘Am I the Same Girl?’ and ‘Now That You’re My Baby’ were not written exclusively for the British icon. Britain had a history of pulling from America’s R&B, soul and pop stashes, but whereas groups such as the Beatles, Herman’s Hermits and the Moody Blues gave their American covers a very British slant, Dusty’s interpretations sounded neither overtly British nor American. It all just sounded like Dusty. It’s hard to think of another singer able to so effortlessly and convincingly claim so many top-notch covers as their own.

“Dusty Heard Them Here First” compiles 24 US songs that Dusty covered during her long career. A quick peek at the tracklist reveals her unabashed affection for soul. She wore her love of Motown loud and proud, taking on heavy-hitters such as the Velvelettes’ ‘Needle In A Haystack’, the Miracles’ ‘You’ve Really Got A Hold On Me’ and Marvin Gaye’s ‘Can I Get A Witness’. She also idolised Baby Washington, covering four songs from her repertoire, including ‘Doodlin’’ featured here. Compiler Mick Patrick also notes Dusty’s fondness for songwriters Carole King and Gerry Goffin, writing, “Dusty cut enough numbers from [their] catalogue to fill an entire LP”. The Honey Bees’ original of Goffin and King’s ‘Some Of Your Lovin’’ is a tough one to beat, but Dusty came very, very close. Her decision to cover Norma Tanega’s ‘No Stranger Am I’ was likely due to more than just her interest in the song. Norma and Dusty were dating at the time she recorded this for the B-side of ‘I Close My Eyes And Count To Ten’ in 1968. By the 70s she was tapping Evie Sands and Lesley Gore for material. It’s easy to hear why she selected Lesley’s ‘Love Me By Name’, so powerful and full of feeling. But then again, the same can be said for ‘Turn Me Around’ (Chi Coltrane), ‘Packin’ Up’ (Margie Hendrix), ‘Every Ounce Of Strength’ (Carla Thomas) and practically every single song on “Dusty Heard Them Here First”. This is one of those rare instances when it’s just too tough to choose between original and cover; both are wonderful, you be the judge.

By Sheila Burgel (Ace Records)

Ace Records 2014 CD 18.00 €
VA: - Hall Of Fame Vol. 3
Our Fame vault excavation continues to be the gift that keeps on giving for southern soul fans. And what better way could there be to start another soul-filled year than with a new volume of “Hall Of Fame”. The previous two volumes of the series presented a cross-section of exceptional, and mostly unissued, material from the vaults of Fame studios from the prime years of Rick Hall’s funky building on Avalon Avenue in Muscle Shoals. The previous volumes mixed male and female vocalists and added a smattering of groups, but this one concentrates on the recordings by the great male singers who passed through Fame’s doors in the mid to late 60s.

A sizeable portion of the tracks featured here only came to light during our ongoing research. Most of the artists have appeared previously in our series and will need no further introduction, but it’s a pleasure to be able to add to their number by bringing you thrilling selections from Herman Moore, Billy & Clyde, Dan Brantley and Roy Lee Johnson.

How good and how pleasant it is to be able to again bring you almost two dozen fine slabs of vintage southern soul on CD for the first time. Almost all of them date from the period that most would consider to be Fame’s golden era for soul (1966-68), and the few that don’t are just as compelling. 20 of the 24 have never been issued in any form until now. The release of this third volume concludes the “Hall Of Fame” series but not of Ace’s Fame reissue programme, I’m happy to say. There are still several more projects in the pipeline, so you can look forward to musical visits to Northern Alabama for some while yet.

By Tony Rounce (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Just For A Day - The Apollo Records Story 3CD
Apollo Records came from humble beginnings but, through the hard work and dedication of its founders, it became an influential record label in America during the Forties and Fifties. New York-based Apollo went toe-to-toe with larger labels in the era to break artists across numerous genres, most notably doo-wop, gospel and blues, in its near-two decade existence.

Born in the Rainbow Record Shop in downtown Harlem, near the theatre whose name it would share, Apollo Records was founded by husband-and-wife duo Isaac and Bess Berman, along with colleagues Hy Siegel and Sam Schneider. It was Bess who drove the label from the off, taking responsibility for the day-to-day running of Apollo despite Siegel’s initial role of President.

The label’s location amid arguably the country’s most vibrant music scene meant it unearthed gems from the off – and none was more precious than Dinah Washington. The woman who would become known as ‘Queen of the Juke Boxes’ cut a number of tracks for Apollo during its earliest years.

Among the numbers recorded by the 21-year old were ‘Mellow Mama Blues’ (disc one), ‘My Voot Is Really Vout’ (disc three) and ‘Pacific Coast Blues’ (disc two). Even on her maiden studio outing, the young Washington displayed a talent and a soulfulness that belied her age. She would soon be snapped up by the larger Mercury Records and became one of the most influential artists of her time.

Another future superstar to cut their teeth for Apollo was Wynonie Harris, an R&B powerhouse and founding figure of rock ‘n’ roll. Having travelled the United States in a bid to establish himself, Harris turned up at – of all places – the Apollo Theatre in Harlem in the mid Forties. Among the tracks Harris recorded for the label were ‘I Gotta Lyin' Woman’, ‘Young And Wild’ and ‘She's Gone With The Wind’; all three can be found on this collection. The musicians’ strike of 1942-44 postponed Harris’ success, and he went on to enjoy a string of R&B chart-topping hits on both the Decca and King labels.

Artists had to make their name through live performance and public appearances if they wanted to get noticed. Such was the tactic of 35-year old Mahalia Jackson, who arrived at Apollo in 1946.

Jackson wasted no time in justifying the lofty moniker of ‘Queen of Gospel’, bestowed upon her as she played the circuit. In 1948 she recorded and released ‘Move On Up A Little Higher’, which sold eight million. Apollo struggled to meet demand and Bess Berman soon deposed Siegel as head of the label. Jackson would stay at Apollo for nearly a decade, recording tracks such as ‘She Said It Would’ (disc three) and ‘Nobody Knows The Trouble I’ve Seen’ (disc one) before departing for Columbia in 1954 and going on to win four Grammy awards.

But it wasn’t just solo stars that made it on Apollo. Bess Berman showed she was adept at spotting collective talent when she renamed gospel vocal group the Selah Jubilee Singers the Larks in 1950. They went on to bag a number of Top 10 R&B hits, including ‘Little Side Car’ (disc three) in ’51. Buoyed by this success, Berman took another gospel group, the Royal Sons Quintet, and rechristened them the Five Royales. They would enjoy even greater success, most notably with ‘Dedicated To The One I Love’, a track that would go on to hit for both the Shirelles and the Mamas and the Papas in the Sixties.

While the name of the game was commercial success, characters like ‘Champion’ Jack Dupree gave Apollo a large helping of credibility. A gritty and authentic musician who loved his trade, the veteran New Orleans-born singer-pianist was renowned for his witty lyricism and gritty tone. He cut about a dozen country-blues tracks for Apollo, including ‘Deacon’s Party’, ‘Old Woman Blues’ (both disc one) and ‘Come Back Baby’ (disc three), but would achieve greater success on Atlantic.

With a mixture of cult, critical and commercial success, Apollo maintained a respectable output across the Forties and Fifties. But the early Sixties were blighted by Bess’ ill health and copyright lawsuits pertaining to Apollo’s crediting of Mahalia Jackson recordings. It was ultimately, however, the departure of artists like Jackson, the Five Royales and Wynonie Harris to other labels that proved too much for Apollo, which shut its doors in 1962.

But Bess Berman could look back on her work in that period and be proud, not least of the achievement of becoming the first woman to head a record label in a male-dominated era. More than that, this three-disc selection, with its assortment of artists and musical genres, illustrates the strength of the label’s catalogue in all its glory.
One Day Music 2014 2-CD 9.00 €
VA: - Kent's Cellar Of Soul Vol. 3
We present for your delectation 26 mid to late 60s classic soul tracks, only six of which are currently on Ace CDs. Inevitably many are uptempo but the CD is designed to capture the spirit of 60s soul rather than its later UK dance-centric revision. Several were R&B hits and a few made the Pop Hot 100 too. Most were released in the UK, some on groovy little labels such as Action, Spark, Soul City, Direction, B&C and Pama. They were the type of records the pirate radio stations would plug from their off-shore floating studios. It was mod music in the sense of new, hip and in the groove, rather than of any elite, exclusive in-crowd. If it was groovy you bought it.

I remember exotic names such as Cliff Nobles & Co, the Maskman & the Agents and Peggy Scott & Jo Jo Benson being raved about on the radio. When you got your newly released records home you’d play the top side a few times and then try out the flip – always a worthwhile exercise. With the Show Stoppers you got ‘What Can A Man Do’ as a big, big bonus.

Fellow compiler Tony Rounce and I grew up in the exciting times of late 60s Britain, so it is inevitable that this compilation has some Anglo Saxon nuances. Gene Latter was born in Wales and his great 60s soul pastiche ‘Sign On The Dotted Line’ was recorded in London. It gained a US release on Liberty but it was the spins in the clubs of the UK on the Spark label that won it admirers who danced to its gritty grooves. The Show Stoppers also found fame through the UK clubs and went to #11 with their ‘House Party’ top-side without even denting the US R&B charts. Brenton Wood had a hit on all the record sales listings, but surprisingly reached the highest over here.

Cliff Nobles’ ‘The Horse’ was an instrumental that had that indefinable something which made it stand out from the rest; there are probably legions of fans who never knew the song’s title. Bill Moss’ funky ‘Sock It To ‘Em Soul Brother’ is a fine example of early rap and something of a period piece with it’s eulogising of OJ Simpson for his football rather than courtroom skills. Jesse James’ first R&B hit ‘Believe In Me Baby’ didn’t get a UK release; possibly just as well as there are some heavy sexual problems featured towards the end.

There’s girly group soul from the Ikettes and Inspirations, funky stuff from Clarence Carter, Thelma Jones and Lowell Fulsom and soulful balladry from Carl Henderson, the Ad Libs and Bob & Earl. The soul group roots of Northern Soul are demonstrated by the Platters, Esquires, Showmen and Volumes, while Ruby Andrews and J.J. Barnes feature the subtler productions that were the foundation stones of the 70s modern soul scene.

No false categories are needed; it’s all truly great soul music that will be appreciated by any music lover.

By Ady Croasdell (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Let The Music Play - Black America Sings Bacharach & David
Our “Black America Sings…” series has already turned the soulful spotlight on the compositions of Bob Dylan, Lennon & McCartney and Otis Redding. Now it’s the turn of Bacharach and David.

Burt Bacharach’s music and the lyrics of Hal David have been appreciated by black American artists for over 50 years. Dionne Warwick was the first to record many of their songs and by doing so made them visible to others as a source of hits or album tracks. The pair had no finer interpreter than Warwick– with the possible exception of her male counterpart Lou Johnson – but all the acts included here demonstrate the quality of their work.

The song titles here speak for themselves, and the reputations of the artists are enough to guarantee quality performances. Every listener will have their own favourites. I have more than a few, but am especially fond of Dionne Warwick’s original demo of ‘Make It Easy On Yourself’, Ruby & the Romantics’ ‘I Cry Alone’ and Isaac Hayes’ elegant elongation of ‘I Just Don’t Know What To Do With Myself’. There are many other highlights, but if these three tracks can’t sell you on the project, nothing will.

Plans are underway to extend the “Black America Sings…” series, with the next instalment due later this year. In the meantime, here are two dozen of Bacharach and David’s best-known compositions performed by some of the finest soul artists of the 1960s and 70s.

By Tony Rounce (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Nasty Rockabilly 20 LP Box
Volumes 1 - 20 in one box. 20 LPs in one box. Limited pressing of 200 copies made.
Be Sharp Records 2014 LP-Box 290.00 €
VA: - Rautalankahitit - 30 Suosikkia 2CD
Warner Music 2014 CD 13.00 €
VA: - Rhythm 'n' Bluesin By The Bayou - Rompin' & Stompin'
Letting the good times roll again, with this second visit to the dynamic South Louisiana R&B scene there is no waver in the quality of music.

We’ve added the work of another Louisiana record man, Sam Montel from Baton Rouge, to the vast stockpile of material in the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau and Jake Graffagnino.

Sam (originally Montalbano) got into the music business when his childhood friend Jimmy Clanton hit the charts. Sam became his road manager and the whole scene got into his blood. He decided to start his own record label when only 18 years old. His first release, Lester Robertson’s ‘My Girl Across Town’, is included here, as is a previously unissued outing from Robertson.

The Montel label had considerable success with artists including John Fred, Dale & Grace and the Boogie Kings, all attracting strong sales. We will be pulling out more R&B, swamp pop and rockin’ goodies from these vaults for future releases in the “By The Bayou” series.

The other label owners – J.D. Miller from Crowley, Eddie Shuler from Lake Charles, Floyd Soileau from Ville Platte and Jake Graffagnino from Opelousas– have all had recordings featured on our earlier CDs. Like Sam, they could all spot talent and got the best out of their artists. It means Ace has the opportunity to bring you dynamic tracks from an area of the USA so very rich in talent. In addition to the talents of the lead vocalists, the backing musicians on many of the tracks are also very accomplished.

Guitar Gable is heard on many titles, as is Katie Webster on piano, sax giant Lionel Torrence, drummers Jockey Etienne and Warren Storm and Lazy Lester, who would play whatever instrument was asked of him; all are featured on many of the Crowley recordings.

Classie Ballou’s band was used often at Goldband, while the Upsetters, Little Richard’s former outfit, can be heard on Lester Robertson’s tracks.

The excitement of discovering new material such as the track by Tabby Thomas, the previously unknown and romping version of ‘Flat Foot Sam’ by TV Slim and the downright nasty ‘Oh Mama (Cajun Blues)’ by Classie Ballou is undiminished. Bracketing them with other fabulous unknown recordings, unissued alternates and long deleted masterpieces is a pleasure and a privilege.

If you have rhythm in your bones and a love of the raw and rockin’ then “Rhythm’n’Bluesin’ By The Bayou – Rompin’ & Stompin’” is going transport your spirit to a Louisiana juke joint.

By Ian Saddler (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Rock Til You Drop Vol. 3
Classics Records 2014 CD 17.00 €
VA: - Running Scared - The Monument Records Story 2CD
One Day Music 2014 CD 7.00 €
VA: - Sadoin Sähkökitaroin Extra Osa 3
now available !
Rautalanka Records 2014 CD 18.00 €
VA: - Swamp Pop By The Bayou
In the mid-50s, as rock’n’roll swept across the USA, the Cajun youth of South Louisiana and South East Texas absorbed the R&B sounds emanating from New Orleans. This was reflected in their music, making it so distinctive. They thrilled to the sound of Fats Domino, Smiley Lewis and Huey Smith and performed their songs with the bands they formed, while the area’s new breed of songwriters – Bobby Charles, Jimmy Donley, Jivin’ Gene, etc – assimilated the Crescent City style in their work. Swamp pop was born, although the genre had yet to be named.

Several artists were plucked from the scene and sanitised by big record companies to turn them into pop stars, but there is no sanitisation here on “Swamp Pop By The Bayou”. Half the tracks are previously unreleased and most of the rest are pretty obscure. Jivin’ Gene’s ‘Breaking Up Is Hard To Do’ is the only national hit, but even that seems to have dodged CD compilation. Also included are examples from genre favourites such as Johnnie Allan and Warren Storm, plus Rocket Morgan, Gene Terry and Tommy Strange, artists better-known for their rockabilly recordings.

The tracks all come from the tape vaults of South Louisiana record men J.D. Miller, Floyd Soileau, Sam Montel and Eddie Shuler, who recognised good songs and singers when they heard them. The music they captured has been a joy to fans of rockabilly, R&B, blues and swamp pop for over 50 years. The vast untapped stockpile of recordings from these and other sources mean the future of the “…By The Bayou” series seems very exciting.

By Ian Saddler (Ace Records)

Ace Records 2014 CD 18.00 €
VA: - Teen Rockin' Party Vol. 10
Classics Records 2014 CD 17.00 €
VA: - Teen Rockin' Party Vol. 9
Classics Records 2014 CD 17.00 €
VA: - Teenage Time Vol. 12
Classics Records 2014 CD 17.00 €
VA: - That British Sound Vol. 14
Here's the long awaited volume 14 which was actually nominated for a Brit Award in
the 'Best Compilation' category. Yes, nominated by me while I was watching the
telly! Some top tracks, and as always most have not appeared on anything since their original release.
Blakey Records 2014 CD 17.00 €
VA: - The Complete Fame Singles Vol. 1 1964-67
The Muscle Shoals music scene, and its pioneer Rick Hall, have received a lot of attention recently. The Muscle Shoals documentary film devoted a great deal of coverage to Hall’s work and in January 2014 the Grammy committee presented him with a Special Merit award. Only a man with such great talent could have made a one-track country town in Alabamaan important centre of the American recording industry. As a tribute to his outstanding legacy, we are releasing the first volume in our “The Complete Fame Singles” series.

Hall opened Fame Recording Studios in 1961. Arthur Alexander’s timeless single, ‘You Better Move On’ b/w ‘A Shot Of Rhythm and Blues’ – a big hit on Dot and a monumental influence on a generation of UK musicians, was the first of many hits recorded at Fame. At first Hall hired out the studio to producers such as Ray Stevens and Bill Lowery who wanted to take advantage of his crack studio band and his engineering skills. He also issued a few records by local acts on the R and H or Fame labels and leased out other masters to larger imprints for national distribution. When he found Jimmy Hughes, who he hoped would follow Arthur Alexander as his star act, he licensed ‘I’m Qualified’ to Jamie-Guyden in Philadelphia. Only when he failed to place Hughes’ follow-up with a national company was he forced to start Fame as a serious label, helped by Dan Penn, his main songwriter and right-hand man in the studio. This is the point where our collection begins.

The single was the southern soul masterpiece ‘Steal Away’. Following Hall and Penn’s early attempts at promotion, the record was picked up by Vee-Jay for national distribution. On the back of a Top 20 Pop hit and a #2 position on Cash Box’s R&B chart, Vee-Jay demanded more material from Hughes and signed a distribution deal for the Fame label. Fame attempted to repeat Jimmy Hughes’ success and issued a selection of records from musicians who formed the team around Rick Hall.

On this first of three volumes, we follow the development of the great songwriting team of Dan Penn and Spooner Oldham and hear the records made during the years 1964 to 1967. Many failed to make a mark, as much of the label’s early period was devoted to finding out what route would lead to success. By the end of the second disc, Clarence Carter is established as the label’s main star, distribution has switched to Atlantic and the Fame label’s path is set. The 52 tracks here tell this fascinating story.

By Dean Rudland (Ace Records)
Ace Records 2014 CD 25.00 €
VA: - Those British Instrumentals Vol. 11
Nearly all the tracks on this latest volume of "Those British Instrumentals Vol 11" have not appeared on a 'pressed' CD before
and all have been mastered from the original 45s to a very high standard.
Sling Back Records 2014 CD 17.00 €
VA: - Vamps Et Vampire - The Songs Of Serge Gainsbourg
This latest edition in our Songwriter series spotlights Serge Gainsbourg, one of the greatest icons of Gallic pop culture. “The image of beauty and the beast, the Rive Gauche provocateur arm-in-arm with the ravishing icon, was a recurring feature of Gainsbourg’s career,” once observed Malcolm McLaren, a man not unfamiliar with the power of provocation. Spanning the entire Gainsbourg canon, our collection ranges from existential chanson to yé-yé and beyond – performed, appropriately, by a stellar all-female cast.

Had Gainsbourg got his way, Marisa Berenson would have become his co-star in Slogan. Fortunately for him, Jane Birkin landed the role. After some frosty early encounters, they soon became inseparable. Reluctant at first, Jane agreed to record what became Gainsbourg’s biggest-ever hit. It was B-sided by ‘Jane B’, conspicuous for a lyric lifted from her passport and a melody mooched from Chopin. Also here is the pun-laden ‘Con C’est Con Ces Conséquences’ from “Baby Alone In Babylone”, the fifth of the seven albums to emanate from their partnership.

Jane Birkin aside, the performer with the most Gainsbourg songs in their catalogue is Zizi Jeanmaire. Many of those songs were written specifically for her stage shows, notably the 1972 production Zizi Je T’Aime. ‘Vamp Et Vampire’, our title track, is from “Bobino”, a 1977 album comprising almost entirely Gainsbourg compositions.

His long-term relationship with Jane notwithstanding, Gainsbourg’s highest profile liaison was with Brigitte Bardot. They became an item during the sessions for 1968’s Le Brigitte Bardot Show TV special, represented here by ‘Harley Davidson’ and ‘Contact’.

From his earliest days as a jobbing musician Gainsbourg hankered for his songs to be performed by Juliette Gréco, the black-garbed embodiment of bohemian Gallic cool. She eventually recorded many. ‘La Javanaise’ and ‘Strip-Tease’, featured here, are from her eighth album, issued in 1963.

Prior to France Gall recording Gainsbourg’s songs his name had not featured on a big hit record. They might come across as cute yé-yé trifles, but ‘Poupée De Cire, Poupée De Son’ and ‘Les Sucettes’ are custom-penned songs threaded with typical Gainsbourg wordplay and double meanings.

‘L’Anamour’ and ‘Comment Te Dire Adieu’ are the earliest of the six Gainsbourg songs in the vast catalogue of Françoise Hardy. ‘Comment Te Dire Adieu’ was first recorded by veteran American singer Margaret Whiting as ‘It Hurts To Say Goodbye’ but it was the hipper instrumental version that attracted Françoise. Her manager suggested asking Gainsbourg to write a French lyric, which he duly dictated over the phone to Françoise while she was staying at the Savoy in London.

The CD closes with ‘Laisse Tomber Les Filles’ by April March, one of the most ardent latterday champions of Gainsbourg, whose songs are paramount in her early discography. Some she recorded in both their original French and with her own English lyrics. ‘Laisse Tomber Les Filles’ thus became ‘Chick Habit’, as which it reached a mass audience in the soundtrack of Quentin Tarantino’s Death Proof.

In addition to the customary track commentary, the 24-page booklet features a fascinating essay by Gainsbourg biographer Alan Clayson and a foreword by April March.

By Mick Patrick (Ace Records)
Ace Records 2014 CD 18.00 €
VA: - Without The Beatles 2CD
During February, 2014 America celebrated the 50th anniversary of 'The British Invasion' when The Beatles appeared on The Ed Sullivan TV Show and changed the course of pop music forever.

Although American teenagers embraced The Beatles sound as a new and exciting genre of music, it was initially based on US rock and roll. So across this 2CD set we present 50 original classics of US rock and roll, pop, R&B and soul recordings that The Beatles would later go on to cover and sell back to America.

Artists include: Little Richard; Carl Perkins; The Everly Brothers; The Isley Brothers; Buddy Holly; Chuck Berry; Elvis Presley, Eddie Cochran and more!

Fully detailed liner notes.
Jasmine Records 2014 CD 15.00 €
VA: - You Talk Too Much - The Rick & Ron Story Vol. 1
Ace Records 2014 CD 18.00 €
Acker Bilk - Mr. Acker Bilk Requests 2CD
Acker Bilk was part of the boom in traditional jazz that swept the United Kingdom in the late 1950s

Features his hits 'Summer Set', performed by his ensemble 'The Paramount Jazz Band', and 'Stranger on the Shore' which went to number 1 on the Billboard Hot 100 singles chart making him the first British artist to have an American No. 1 making him an international star.

Other great songs of note include his interpretation of 'I Can't Get Started', 'Higher Ground', 'Carry Me Back', 'Franklin Street Blues', and 'Ory's Creole Trombone'.

Described as 'Great Master of Clarinet', Acker Bilk was, and still is just as important as American jazzmen like Benny Goodman or Artie Shaw.

Truly, the glory that is Acker Bilk transcends all ages and all manner of music. Another must have collection from the vaults of Jasmine Records!
Jasmine Records 2013 CD 15.00 €
Adrian And The Sunsets - Breakthrough
High-Flyin' Surf Rock From Southern California on 180 Gram Multi-Colored Vinyl!

Adrian Lloyd and his backing band The Sunsets were still teenagers when they recorded this highly-prized slab of pure California surf-rock. Long desired amongst collectors both for its brand of high-energy, drum-driven rock ‘n’ roll and for the crazy swirly vinyl it was pressed on, Breakthrough is a prime example of a genre that still excites fans of early ‘60s music. Featuring the should-have-been-a-hit title track and many other almost-classics, Adrian Lloyd’s high flyin’ slab is an essential part of any surf-rock collection.

Now Sundazed brings this long-out-of-print album to you the way you want it -— pressed on swirly colored vinyl, with brand new liner notes by John Blair, author of The Illustrated Discography of Surf Music, 1961-1965, and featuring an abundance of great bonus tracks including the hard to find single “She Treats Me Better Than You” and the killer unreleased tracks “Drums In Orbit” and “On Moonlight Bay.” Plus, the CD brings you even more treats, including the highly-desired single “Lorna” and the unreleased track “Mersey Girl”. This Sundazed issue of Breakthrough is destined to be just as sought after by collectors!
Sundazed Music 2013 LP 22.00 €
Al Caiola - Caiola Bonanza 2CD
The Al Caiola Bonanza is by far the most comprehensive set of hit songs by one of America's greatest guitarists!

This includes some of the great Western themes, beginning with his classic 'Bonanza' as well as 'Gunsmoke', 'Laramie', 'Maverick', 'Bat Masterson', 'Rawhide' and many others.

Other major hits include 'The Magnificent Seven', 'Wonderland by Night', 'Sleep Walk', 'Tumbling Tumbleweeds', 'Undecided', 'Calcutta'.

In addition, many rare 45 singles never available on CD are included.
Jasmine Records 2013 CD 15.00 €
Arthur Big Boy Crudup - Sunny Road
recorded 1969
Delmark Records 2013 CD 18.00 €
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.
Back To The Sixties Ry 2013 Kirjat 25.00 €
Beach Boys - Surfin' Safari LP + CD
Doxy Music 2013 LP 22.00 €
Beatles - Live At The BBC 3LP
Newly remastered for reissue on November 25, The Beatles’ first Live at the BBC album sounds and looks better than ever. This collection of the group’s BBC sessions mixed versions of their hits with a treasure trove of 30 songs The Beatles performed on air but never released on record in the 1960s. The compelling track list ranged from a rare performance of the little known Lennon-McCartney original “I’ll Be On My Way” to covers of classic rock ’n’ roll and contemporary rhythm and blues songs. At the time of its release, Live at the BBC was hailed by Rolling Stone as “an exhilarating portrait of a band in the process of shaping its own voice and vision.” It earned a GRAMMY® Award nomination for Best Historical Album.
Live at the BBC was assembled by George Martin in 1994 and has been meticulously mastered by engineers Guy Massey and Alex Wharton at Abbey Road Studios. The booklet includes Kevin Howlett’s essays on the history of The Beatles’ BBC radio sessions and his detailed commentaries on all of the tracks.
Universal Music 2013 LP 48.00 €
Beatles - On Air - Live At The BBC Vol. 2 2CD
Universal Music 2013 CD 29.00 €
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