Result of your query: 29 products
|Alvin Cash - Windy City Workout - The Essential Dance Craze Hits 2CD
Chicago soul music is one of the many regional variations that proved nationally popular during the 1960s and this unique collection celebrates one of the city’s many stars Alvin Cash. An often overlooked sub-genre is the almost never-ending stream of dance craze records which caught the national imagination, and Alvin Cash was among the leading exponents.
Windy City Workout is the first ever legitimate CD release devoted entirely to Cash’s recordings. Disc 1 opens with his sole album release Twine Time, named after his biggest hit, and continues into Disc 2 with all of his single releases in chronological order. This deluxe memorabilia-laden package features notes from the eminent Chicago blues and soul expert Robert Pruter, and the track listing denotes all the chart placings he secured on America’s pop and R&B charts.
Cash’s recordings for Mar-V-Lus, Toddlin’ Town, Seventy-Seven and Sound Stage Seven are all included. Also featured are three tracks which only ever appeared on the now ultra-rare Toddlin’ Town LP, Wilson Pickett’s ‘Funky Broadway’ and two Arthur Conley hits, ‘Funky Street’ and ‘People Sure Act Funny’. Dances with instructions include The Twine, The Boo Ga Loo, The Bump, The Barracuda, The Boston Monkey, The Penguin, The Freeze, The Charge, The Popcorn and, second only to The Twine, The Ali Shuffle, a dance which Alvin dedicated to Mohammed Ali.
Alvin Cash passed away in 1999 but his music still resonates on today’s soul scene, as a quick visit to YouTube will attest. This carefully compiled 2CD set is the first comprehensive retrospective of his work and is testimony to the power of dance music; get up and get down is all you can really do to this collection.
|Charly Records 2012||2-CD||18.00 €
|Connie Francis - Eight Classic Albums Vol. 1 4CD
||Real Gone Records 2012||2-CD||9.00 €
|Connie Francis - Eight Classic Albums Vol. 2 4CD
||Real Gone Records 2013||2-CD||9.00 €
|Duane Eddy - 6 Classic Albums Plus Bonus Singles 4CD
||Real Gone Music 2012||2-CD||9.00 €
|Elvis Presley - Blue Hawaii 2CD
The CD is an expanded edition of the original soundtrack album ‘Blue Hawaii’ originally released in 1961.
It contains many previously unreleased out-takes and alternate versions of the soundtrack recording including Elvis’ number 1 hit, ‘Can’t Help Falling in Love’.
As a bonus, the CD is accompanied by a 40 page book containing many rare and unpublished photographs taken on and off the set of ‘Blue Hawaii’.
|Memphis Recording Service 2012||2-CD||25.00 €
|Ennio Morricone - Morricone In Colour 4CD
With his peerless versatility and productivity, Ennio Morricone is one of the most famous and influential composers of the twentieth century.
Drawing from an extraordinary range of musical styles, his 500 film scores have
accompanied every conceivable musical genre.
Morricone's innovative soundscapes for Sergio Leone's mid-sixties spaghetti westerns
changed film music forever. In any context, the composer's work is a formidable
combination of eclecticism, sensuality and playfulness.
The eight film soundtracks featured in the this box set all derive from the period between the late sixties and mid-seventies when the Maestro was in his pomp. The arty erotica of Giuseppe Patroni Griffi's Metti, una sera a cena is perfectly complimented by Morricone's cool jazz score and his music gives humour and great beauty to such offbeat period pieces as Forza g and Il Gatto and the abstraction that is L'assoluto naturale (starring the Yugoslavian actress Sylvia Koscina and the superb Laurence Harvey).
Arguably the most impressive of the set are the composer's scores for the early Argento giallos, The Bird with the Crystal Plumage and Four Flies on Grey Velvet. In the former, Morricone's ominous, haunting music establishes an almost unbearable suspense and for the latter combines bracing atonality with a send up of progressive rock (the director's first experiment with such music and a prelude to Goblin)
|Cherry Red Records 2012||2-CD||35.00 €
|Hep Stars - 5CD Original Album Serien
||Emi Music 2012||2-CD||29.00 €
|Huey Piano Smith - It Do Me Good 2CD
The Banashak & Sansu Sessions 1966-1978.
When it comes to good time rollicking rock’n’roll or rhythm’n’blues, there are few exponents to match Huey ‘Piano’ Smith. One of the greatest of New Orleans’ many pianists, Smith began his career with blues men like Guitar Slim and Earl King and enjoyed a string of classic hits in the late 1950s. During that time he wrote and recorded three of rock and roll’s most enduring classics, ‘Rockin’ Pneumonia And The Boogie Woogie Flu’, ‘High Blood Pressure’ and ‘Sea Cruise’, the latter featuring the vocals of Frankie Ford. His career continued well into the 1970s.
This deluxe package is an upgraded version of a Charly CD released in the late 1980s, Pitta Pattin’. This collection - featuring the recordings he made for the Instant label in the late 1960s - has now been expanded to include several tracks not featured on the original including the ultra rare ‘Two Way Pock-A-Way’, ‘Epitaph To A Black Man’ and ‘The Whatcha Call ‘Em’ plus several newly discovered, previously unissued recordings. His powerful piano can be heard to good effect on the previously unissued, ‘I’m Boss Pt 2’ with its almost Northern Soul sound.
Many of Smith’s early Instant 45s were big local hits in New Orleans and Louisiana without ever denting any national charts and have long been sought after by collectors, with some, like ‘Two Way Pock-A-Way’, proving almost impossible to find today. Also featured are versions of ‘Rockin’ Pneumonia’, ‘High Blood Pressure’ and ‘Don’t You Just Know It’ recorded for an Atlantic LP that was never released. By way of a bonus, Huey’s last known recordings made for Allen Toussaint’s Sansu company in 1978 make their CD debut here, more than thirty years after their first release on Charly vinyl.
These are the last recordings of Huey Smith who retired from music to concentrate on his religious beliefs in the early 80s. He now lives in retirement in Baton Rouge but still happily acknowledges his huge contribution to New Orleans R&B and to rock’n’roll in general.
|Charly Records 2012||2-CD||18.00 €
|Jerry Lee Lewis - The Killer Live 1964-1970 3CD
||Hip-O-Select 2012||2-CD||39.00 €
|Johnny Hallyday - The Very Best Of 2CD
||Union Square Music 2013||2-CD||10.00 €
|Johnny Otis - That's Your Last Boogie! - The Best of Johnny Otis 3CD
The Best Of Johnny Otis 1945-1960‘Godfather of Rhythm & Blues’
Johnny Otis, one of the founding fathers of rock ’n’ roll, is next up in Dave Penny’s Architects Of Rock ’N’ Roll series, represented on a stellar collection straddling his multi-faceted career between 1945-1960.By sheer tragic coincidence, Dave had Otis lined up as a prime subject when planning the series over a year ago but January 17, 2012 saw the pioneering singer, songwriter, bandleader, talent spotter, impresario and disc jockey pass away at home in California, aged 90.
These carefully-selected and sequenced 83 tracks spread over three CDs now stand as an ultimate tribute to this pivotal figure.The son of Greek immigrants (real name Ioannis Alexandros Veliotes), Otis grew up in the predominantly black area of Berkeley, telling an interviewer in 1994, ‘Genetically, I’m pure Greek. Psychologically, environmentally, culturally, by choice, I’m a member of the black community.’ As such, he played a major part in creating a new sound for the growing audience of young urban blacks, starting out drumming in swing orchestras at 18. He formed a 16-piece big band in 1945, scoring his first hit with a glorious take on ‘Harlem Nocturne’.
CD1’s sublime smorgasbord of big band jazz and slinky blues, entitled Barrelhouse Stomp after the Watts club he opened in 1948, features further Otis orchestra titles alongside outings with Wynonie Harris, Joe Turner, Lester Young, (future Coasters) the Robins and Little Esther Phillips.In 1949, Otis started recording for the Newark, New Jersey-based Savoy label, scoring 15 Billboard R&B chart hits between 1950-52, including number ones with Little Esther & Mel Walker which dominate CD2’s Rockin’ Blues, joined by names including the Royals and Marilyn Scott. In 1952, Otis discovered Etta James and produced Big Mama Thornton’s original version of Leiber and Stoller’s ‘Hound Dog’, while enjoying a growing career as a songwriter, already presenting the rock ’n’ roll form and attitude soon to sweep the world. While starting his lifelong vocation as a disc jockey in LA, he became a talent scout for King Records, while scoring the late fifties hits (including 1958 US top tenner ‘Willie And The Hand Jive’) featured on CD3’s Going Crazy (1952-1960). Other names included on this most rocking of selections include Etta James, Little Richard, Pete ‘Guitar’ Lewis, Johnny Ace, Sugar Pie, Faye Wilson and Mr Goggle Eyes August.Johnny’s passion, benevolence, warmth and uncanny musical clairvoyance shines through every track on this magnificent set, capturing many of his achievements at this most crucial time in musical history. That aside, it also happens to be one hell of a party album for the summer.
|Fantastic Voyage 2012||2-CD||18.00 €
|Leona Williams - Yes, Ma'm He Found Me In A Honky Tonk 3CD
3-CD digipac (8-plated) with 48-page booklet, 82 tracks. Total playing time approx. 217 mns.
Contains 82 classic country tracks, including her top ten hit duet with Merle Haggard, The Bull And The Beaver!
Includes many previously unreleased recordings and a 'lost' album produced by Tompall Glaser!
Contains a biography based on extensive personal interviews!
48-page booklet with many rare photos from Leona Williams' personal collection and a detailed discography!
Some colleagues and friends about Leona Williams:
"Leona Williams is a great singer. She sings with a lot of soul. I know her family must be very proud of this Bear Family box set. I wish her a lot of happiness and success." - Willie Nelson
"When I listen to Leona Williams sing it goes right to my heart; I can feel every emotion that she puts in a song. In my opinion Leona Williams is one of the greatest songwriters of our time. My only regret is that I don't get to see her enough, but when I do it's an honor to be in her presence. I am so excited because I'd like to do a whole damn album of her songs, even though I am a little scared I couldn't do them justice, but guess what?.....I'm gonna try!" - Tanya Tucker
"Leona Williams.....the purest voice this side of the Mississippi and beyond! Skillfully crafts songs from a woman who has lived through the lyrics she writes. My heart-felt thanks for creating this traditional country music collection! I love your music and the honesty it brings." - Rhonda Vincent
"Leona Williams is the greatest female country singer that has ever stepped up to a microphone. She can make a grown man cry with her sad songs. I love the lady and her music. What a nice lady!" - George Jones
"Leona will always be one of my very favorite people in the world. She was the first artist that ever thought enough of one of my songs to record it. And that feeling of having one of your own songs recorded by someone else has lasted a lifetime." - Vince Gill
If ever in the annals of country music there was a 'singer's singer' it would have to be Leona Williams. She is regarded as one of the finest 'pure country' vocalists and continues to tour the world entertaining her loyal fans. Her personal singing hero, George Jones, has referred to her as "one of the greatest country singers that has ever stepped up to the microphone."And Merle Haggard was so taken with her vocal abilities that he married her (a union they would both come to regret.)
Williams began her career as a teenager in her home state of Missouri with her own local radio show, before moving to Nashville and signing with Hickory Records in 1968. She recorded such classics as Once More, Yes Ma'm (He Found Me In A Honky Tonk) and Country Girl With Hot Pants On. She moved on to RCA Records and then MCA, where she worked with future husband Merle Haggard, and top-notch producers like Porter Wagoner. This set features 82 classic tracks – all of her studio recordings, including several previously unreleased tracks, for Hickory, and a complete unreleased LP produced in 1986 by Tompall Glaser. A detailed discography and liner notes by Randy Fox, drawn from extensive interviews with Williams, tell the story of her incredible life and career.
|Bear Family 2013||2-CD||40.00 €
|Muddy Waters - You Shook Me 2CD
The Chess Masters Vol. 3 1958-1963.
Six years after the last set of Muddy Waters’ Chess recordings by Hip-O Select, the boutique label will release You Shook Me: The Chess Masters Volume 3 1958-1963 next week.
While Waters’ profile was well on the rise before the period covered on this two-disc set – having put singles like “I’m Your Hoochie Coochie Man,” “I Just Want to Make Love to You” and “Mannish Boy” in the upper reaches of the R&B charts – You Shook Me is notable for being anchored not only around single releases but two of Waters’ first LPs. 1960′s Muddy Waters Sings “Big Bill” was a tribute to Big Bill Broonzy, the Chicago bluesman who gave Waters one of his first major professional breaks opening for him at local clubs. The other, recorded that same year, was Muddy Waters at Newport 1960, a killer of a live album that featured revelatory versions of “Hoochie Coochie Man” and “Got My Mojo Workin.’”
This 49-track set also includes one unreleased instrumental, “Sweet Black Angel,” and a handful of songs that appeared only on a multi-LP box set of Waters’ Chess output released in Japan. Mary Katherin Aldin pens liner notes for the booklet, which is filled with rare photos of Waters in action.
|Universal Music 2012||2-CD||40.00 €
|Nina Simone - Deluxe - The Anthology Collection 3CD
||Music Brokers 2013||2-CD||15.00 €
|Shanes - 5CD Original Album Serien
||Emi Music 2012||2-CD||29.00 €
|VA: - Bluesology 3CD
If you think these three discs will reduce you to a blabbering basket case, or cause your family to remove sharp implements from your reach, then think again. The blues has a reputation for misery that’s scarcely recognised by the people who play it. Take Buddy Guy: ‘Once I was checking to hotel and a couple saw my ring with “Blues” on it. They said, “You play blues. That music is so sad.” I gave them tickets to the show, and they came up afterwards and said, “You didn’t play one sad song.”’
Singer/guitarist Guy contributes ‘First Time I Met The Blues’ to our collection – and he is typical of a generation of bluesmen who left home in the postwar years in search of stardom. When he hit Chicago in 1957, fresh from his native Louisiana, he admits he was ‘as square as a billiard table and just as green’. He was still touring the word over 50 years later, playing his music and declaring, ‘A lot of people have told me the blues is like whiskey – the longer you leave it in the barrel the better it gets!’
BB King acquired his ‘Blues Boy’ name in Beale Street in downtown Memphis, Tennessee – but, like Guy, was an incomer from the country. Mississippi-born King’s seventh RPM release, ‘Three O’Clock Blues’, was the first of many to hit the Billboard R&B listings in 1952, the Lowell Fulson-inspired number staying at Number 1 for over three months. Like Buddy Guy, King found a ready audience in the black workforce that had come to urban centres during wartime and stayed to fuel the growing US economy.
When it comes to legendary figures, the blues has a surfeit. But they don’t come any more legendary – or mysterious – than Robert Johnson. The tale that he had ‘sold his soul’ to the devil at an unidentified crossroads in exchange for exceptional musical gifts came about after a spell away from his plantation home. Johnson allegedly returned with an impressive technique, much to the astonishment of his fellow musicians. The legend would be rubber-stamped when he was poisoned in Greenwood, Mississippi in 1938 while playing a dance. The devil’s due? It certainly seemed so to his contemporaries.
Elmore James was a disciple of Robert Johnson In both his guitar-playing and his repertoire. Both were born in Mississippi a handful of years apart – but while Johnson cut his historic sessions in 1936-37, Elmore didn’t record until 1951, when he laid down the first of many versions of ‘Dust My Broom’. His distinctive slide-guitar style, heard here on that very number, would be influential on the likes of Fleetwood Mac.
The blues can often be one man and a guitar – but whether it’s electric or acoustic may tell you a lot about the person playing it. The country blues that had proliferated in the immediate postwar years had to plug in when its performers hit the bustling bars and clubs of the city. They simply had to amplify themselves to be heard.
Not that you have to own a guitar to play the blues. Little Walter Jacobs, Sonny Boy Williamson and Junior Wells are harmonica-players who kept their backing band in their pocket and could blow up a storm by means of that uniquely emotional instrument.
Blues artists were often ripped off and went unrewarded for their recorded effort, by accident or design. As guitarist Otis Rush, who came to fame in the late Fifties on Chicago’s short-lived Cobra label, said, ‘A guy will promise you the world and give you nothin’ – and that’s the blues.’ He wasn’t the only one to suffer at the hands and ethics of the music business.
Paradoxically, if and when blues stars finally ‘made it’, it often became more difficult for them to play with passion. ‘There’s no way in the world I can feel the same blues the way I used to,’ bemoaned the late, great Muddy Waters. ‘When I play in Chicago, I’m playing up-to-date, not the blues I was born with. People should hear the pure blues – the blues we used to have when we had no money.’
John Lee Hooker had to wait until he was in his seventies before he enjoyed real rewards for his labours. His 1989 album ‘The Healer’, featuring guests such as Bonnie Raitt, Carlos Santana, Los Lobos and Canned Heat, went on to top 1.5 million sales worldwide. Accolades came thick and fast. In 1991 he won a coveted WC Handy award and was inducted into the newly established Rock and Roll Hall of Fame, while in 1992 a remake of ‘Boom Boom’ (a vintage version of which is included here) made him the oldest person ever to reach the UK Top 5. A Grammy Lifetime Achivement Award and a star on the Hollywood Walk of Fame also followed.
Let’s leave the last word to Hooker, who died in 2001 at the age of 83. ‘The blues tells a story,’ he said. ‘Every line of the blues has a meaning.’ The 75 stories these songs tell make fascinating listening: enjoy three hours plus of Bluesology…
|Not Now Music 2013||2-CD||9.00 €
|VA: - Complete Pop Instrumental Hits of The Sixties Vol. 3 3CD
If you’re a fan of instrumental hits, Complete 60s Records’ first two releases left you speechless! That’s because this exciting new label’s historic series Complete Pop Instrumental Hits of the Sixties doesn’t just compile the biggest hits or rarest rarities. It brings together every single Billboard Top 100 instrumental hit. If it made the charts, we got it – rock, soul, jazz, country, orchestral, you name it!
Now, in the wake of the first two volumes – 1960 and 1961 – comes Complete Pop Instrumental Hits of the Sixties Vol. 3 - 1962 which chronicles perhaps the biggest year ever for instrumentals. In fact, more than 13% of all Top 100 records in 1962 were instrumentals, and many were big hits. It was a magic, innocent time. America was young, bursting with promise, and literally twisting with energy on the cusp of its most creative, tumultuous decade – and it showed in the crazy quilt of wordless wonders that climbed the charts.
Across 227 minutes of music – three CDs, 92 tracks, 55 in stereo, including 14 CD debuts and dozens of rare tracks – you’ll hear everything from the syncopated jazz of the late, great Dave Brubeck to the pounding rock of Sandy Nelson to the ultra-smooth sax of Billy Vaughn. In the realm of today’s homogenized, synthesized pop, this kind of musical diversity is unthinkable – and enormously thrilling!
We can’t begin to list the highlights (so, see the track list below), but a few of these cuts are among the most sought-after collectibles of the rock era. Ever heard “Telstar” by the Tornadoes in stereo? Nope – because it’s making its worldwide stereo debut right here. Original producer (and genuine eccentric) Joe Meek would be proud! And it doesn’t stop there: renowned platters “Rinky Dink” by Dave “Baby” Cortez, “Green Onions” by Booker T. & the MG’s, and “Nut Rocker” by B. Bumble & The Stingers all make their worldwide stereo debuts on Complete Pop Instrumental Hits of the Sixties Vol. 3.
Of course, big hits abound – from the bump-and-grind of David Rose’s salacious “The Stripper” (#1) to the spicy bravura of the Tijuana Brass’s “The Lonely Bull” (#6) to the wistful fantasy of Mr. Acker Bilk’s “Stranger On The Shore” (#1) to the resurgent ragtime of Kenny Ball’s “Midnight In Moscow” (#2). But you’ll also hear fascinating hits from the lower rungs of the charts like Ernie Freeman’s cover of the ubiquitous “The Twist” (#93), Henry Mancini’s exotic “Theme From Hatari!” (#95), and Jerry Reed’s “Hully Gully Guitar” (#99) – his very first hit.
Complete Pop Instrumental Hits of the Sixties is an unprecedented undertaking to compile every single Billboard Hot 100 instrumental hit of the 1960s, the decade when the pop instrumental genre truly reached its zenith. And, when this project is complete you’ll own them all in the order they peaked on the charts!
The research team at Complete 60s combed the vaults for the best possible sources for these wordless wonders, making sure to locate the original hit versions, in true stereo whenever possible. Then, no less than three sound engineers carefully remastered the original recordings until the twangy guitars, pounding drums, and soaring strings practically leap out of your speakers. You’ll be speechless! Thank goodness, however, writer Greg Adams wasn’t at a loss for words. His detailed, 28-page liner notes include biographies of all 56 artists, plus release notes and chart information for every track.
The same creative folks who lovingly compile those great Eric CDs in the States are working on this project, so you know there’s the same commitment to high quality sound and attention to detail missing from so many oldies collections. Why settle for less? Why take a chance with risky, off-brand, mediocre MP3 downloads of dubious origin? Simply put, if you love instrumentals (of any kind), Complete Pop Instrumental Hits of the Sixties is the final word!
|Hasmick Promotions 2013||2-CD||35.00 €
|VA: - Eteenpäin! Suomi-Jazz 1960-1975 3CD
Nimimerkki Pessimisti kirjoitti Rytmi-lehden numerossa 6/1960 synkästi: "Minne menet Suomen jazz? Tällä hetkellä vastaus näyttää olevan tuhoisan yksinkertainen: Kuolemaan. Suomessa jazz on henkihieverissään."
Nimimerkin ennustus ei onneksi toteutunut. Päinvastoin, sillä 1960-luku merkitsi suurta muutosta suomalaisessa jazzissa. Ripeä kehitys jatkui 1970-luvulla, jolloin suomalainen jazz vakiinnutti asemansa musiikin kentässä kansainvälisestikin.
|Artie Music 2013||2-CD||30.00 €
|VA: - Forgotten 45's 1960-1962 3CD
The Forgotten 45s 1960-1962 follows hot on the heels of The Forgotten 45s 1957-1959, Fantastic Voyage’s previous survey of The Ones That Got Away, which has already proved a bigger-seller and been the subject of an enthusiastic review in The Daily Mirror.
Not every record that’s released can be a hit. Not every record that’s released deserves to be a hit, but frequently records that do aren’t and that’s what this set is all about. Three CDs, packed full of great records that should have been hits, but weren’t. Reflecting the musical preferences of the era, the featured styles run the gamut of R&B, doo wop, soul, rock & roll, country, and mainstream pop. Some of the tracks will never have been on legitimately released CDs before; all will give listening pleasure to collectors and pop music fans alike.
Artists, labels and other pundits could reasonably have expected these recording to be UK hit singles, but they were denied that success. The reason may be apparent with hindsight: the timely release of a rival version, or the listening public starting to fall out of love with the artist, or their style of music. But other misses are harder to fathom, and of course it is this unpredictability that goes a long way to explain our fascination with hit records.
Some of the featured tracks have become favourite oldies despite never making our charts (“Sticks And Stones”, “Last Night”, “Hello Walls”, “Pledging My Love”), some are wannabe hits by name artists whose chart pedigree is not in doubt (Pat Boone, Alma Cogan, Jackie Wilson, Bobby Darin, Craig Douglas, the Platters) and some were “new kids on the block” from both sides of the Atlantic, whose releases should have done so much better.
A fascinating parallel narrative when considered alongside hits-of-the-year compilations, like Fantastic Voyage’s exhaustive British Hit Parade series, The Forgotten 45s 1960-1962, and its companion set The Forgotten 45s 1957-1959, give collectors the chance to fill those holes in their archives which they’ve always meant to fill, but haven’t, and will give impulse CD buyers a thrilling reminder of records that passed consumers by in the heyday of pop music.
|Fantastic Voyage 2013||2-CD||17.00 €
|VA: - I'll Go Crazy - The Federal Records Story 2CD
||One Day Music 2013||2-CD||9.00 €
|VA: - It's Saturday Night! 3CD Starday Dixie Rockabilly 1955-1961
It’s Saturday Night!, an exciting collection of rockabilly recordings from the same label. Starday Records was launched in Beaumont, Texas, in the early 1950s, with perfect timing to catch the first wave of the rockabilly tsunami that would sweep the Southern states of America between 1954 and 1958…and the Texas teenagers with their distinctive cat music were just as ready to rock as those being captured by Sam Phillips at Sun Records in Tennessee.
A cult label for rockabilly collectors worldwide – if not the holy grail of all rockabilly record labels – Starday embraced the new teenage music enthusiastically, introducing the likes of Sonny Fisher and Sleepy LaBeef, as well as revitalising the careers of veterans such as Link Davis, Bill Mack and Leon Payne. In addition, household-names-in-waiting such as George Jones, Big Bopper and Link Wray would also cut their teeth with the little Texas label.
Following the 1970s rockabilly revival, even more of these artists were to become internationally famous with their renown being directly attributable to their time with Starday/Dixie; Fisher, LaBeef, Rudy Grayzell, Glenn Barber and Joe Poovey, all enjoyed extended musical careers courtesy of their insatiable European fans, while those that were unable to tour became absent heroes whose 1950s recordings could still fill dance floors decades after they were laid down.
It’s Saturday Night!: Starday – Dixie Rockabilly 1955-1961 presents over one hundred examples of these enduring sounds; arguably the most exciting rockabilly tracks you will ever hear and, certainly, the most impressive set of tracks recorded by any Southern indie label except legendary Sun Records (and there are many record collectors who would argue that that statement is still four words too long!)
|Fantastic Voyage 2012||2-CD||17.00 €
|VA: - Jamaica Selects Jump Blues Strictly For You 3CD
Fantastic Voyage takes another dip into the bubbling cauldron of R&B which sewed the seeds for ska on Jamaica’s sound systems in the 1940s and 50s, lashing together 85 sizzling biscuits from that formative, feet-finding era.It’s well established that the US R&B which started bombarding the island through radio after World War II was picked up by sound systems such as Clement ‘Coxsone’ Dodd and Prince Buster, germinating into ska after mating with the Caribbean’s own calypso and other local musical strains.
The records being produced in America’s Southern states and cities like New Orleans were loosely termed ‘shuffle blues’; contagious, jumping and bulging with animated incitements to party, dance or get down and dirty, many boasting some of the most caterwaulingly volcanic saxophone solos known to man.The tracks presented on Jamaica Selects Jump Blues Strictly For You straddle the shuffle blues panorama over three CDs (many making their debut in this format). The first disc’s The Roots Of Shuffle Blues (1944-1951) takes off like a rocket with names including post-war godfather Louis Jordan, Joe Liggins and his Honeydrippers, Roy Milton, Sherman Williams, Dave Bartholomew, Lowell Fulson, Jimmy Liggins, Amos Millburn, Roy Brown and T-Bone Walker.
CD2’s The Golden Years Of Shuffle Blues (1951-1954) is emblazoned with the likes of Oscar McLollie, Chuck Higgins, Rosco Gordon, Fats Domino, Ruth Brown, Jack Dupree, Chuck Willis, Guitar Slim, the Charms, Marvin & Johnny, Tommy Ridgley, Earl Curry, Floyd Dixon, the Rocking Brothers and, of course, Louis Jordan. By CD3’s The Big Three Take Over (1955-1960) the rhythm firing on the upbeat over walking bass is blueprinting the ska spring with names such as Nappy Brown, Plas Johnson, the Penguins, Mello-Harps, Big Joe Turner, Shirley & Lee, Vince Monroe, Smiley Lewis, Lloyd Price, Ivory Joe Hunter, Professor Longhair, Clyde McPhatter, Johnny Otis, Earl Hooker, Ernie Freeman and Hal Paige & The Wailers.These discs should come with a warning: lethal rocking and leaping skank blueprints running amok, beautifully presented with knowledgeable, fact-packed annotation.
|Fantastic Voyage 2012||2-CD||18.00 €
|VA: - Joe Meek Telstar: Anthology 3CD
In 2005, the story of maverick producer Joe Meek hit the West End stage as Telstar, and a film of the same name premiered in 2009. All this helped introduce a new generation to the sounds that came out of his studio half a century ago at 304 Holloway Road, north London in an era when Britain lagged a long way behind the States in cutting-edge recording.
‘Telstar’, credited to house band the Tornados and named after a just-launched communications satellite, changed all that. By making Number 1 on both sides of the Atlantic in December 1962 – the first and only record by a pre-Beatles UK group to top the Billboard chart – it put the UK, and Joe Meek in particular, on the map. Sadly, the royalties would be delayed by a court case alleging plagiarism launched by a French composer. This would be settled in Meek’s favour in February 1967, three weeks after his death.
Meek created musical magic in his home studio above a shop. Some of the futuristic sounds he was responsible for would not have sounded out of place in the synthesiser-dominated Eighties, and he was undoubtedly years ahead of his time.
He’d served in the Royal Air Force as a radar technician after World War II, then worked as a television engineer before getting a job at IBC, one of only two recording studios in London not attached to a record label. He moved to the other independent studio, Lansdowne, in 1957, working on some of Lonnie Donegan’s skiffle hits.
All this, plus a growing interest in songwriting, set him up nicely to go it alone, which he did in 1960. His first hit, ‘Angela Jones’, by singer Michael Cox, came out on his own Triumph imprint, but he soon decided to concentrate on creating music and leave the marketing to labels he licensed his productions to.
The following year would see him top the UK charts thanks to John Leyton and ‘Johnny Remember Me’. The combination of the singing actor and a song written by young hopeful Geoff Goddard proved irresistible, the arrangement by another young talent Charles Blackwell featuring strings and choir – all recorded in the living room, bathroom and toilet of Meek’s three-floor flat!
The bands and artists Meek produced varied widely. The Fabulous Flee Rekkers were Britain’s answer to Johnny and the Hurricanes and were led by tenor saxophonist Peter Fleerakkers. Their best-known member was drummer Mickey Waller, who went on to back Rod Stewart after the group broke up in 1963. The Outlaws featured future Deep Purple guitarist Ritchie Blackmore and Chas & Dave’s Chas Hodges, and were used as a backing band; they also feature here in their own right.
Meek’s willingness to experiment was unique in the days before stereo had become the industry standard. The opportunity for experimentation was limited, as it could ruin recordings, but Meek was willing to use devices like limiters and compressors to create a sound all his own. Many of his artists showed longevity, a tribute to his talent-spotting abilities. Mike Berry’s ‘Tribute To Buddy Holly’, included here, was the first of five Top 40 hits in a sequence extending from 1961 to 1980.
Others featured here had their highpoints to come. Cliff Bennett & the Rebel Rousers would hit later in the Sixties with a cover of the Beatles’ ‘Got To Get You Into My Life’, while shock-rocker Screaming Lord Sutch – a UK version of Screamin’ Jay Hawkins – went from rock to politics. Birmingham-born musicians Ken Lewis and John Carter, featured here fronting Carter-Lewis and the Southerners, would go on to find success with third singer Perry Ford as the Ivy League.
The final triumph for Joe Meek came in 1964 when the Honeycombs’ stomping ‘Have I The Right’, released on Pye, gave him another Number 1. But that year also saw him fall out with Geoff Goddard, while his private life, at a time when homosexuality was illegal, was difficult to say the least. He ended his own life in February 1967 by shooting himself in his studio, a tortured genius to the end.
Even though he could not play a conventional instrument, Joe Meek gave much to popular music. His ratio of hits to releases, 45 from 245, stands up to anyone’s in any era, but the fact that he was a maverick operating outside the system makes it even more impressive. He created an early concept album called ‘I Hear A New World’ that was well ahead of its time, although it would remain unreleased for some years. The tracks here credited to the Blue Men are from this project.
Some say that, had he lived, Meek would have continued to innovate. ‘Joe would have been in his element with a multi-track machine,’ said Outlaw Chas Hodges, who described the Beatles’ recordings as sounding like ‘rough demos’ when compared with Meek’s creations. Use your own ears and tune in to ‘Telstar’ and much, much more…you just might agree!
|Not Now Music 2013||2-CD||9.00 €
|VA: - Love And Fury - Gems From The Decca Vaults UK 3CD
||One Day Music 2013||2-CD||10.00 €
|VA: - Midnight Special - The Oriole Records Story 2CD
Oriole Records was the first British record label. It was founded in 1925 by the Levy family, who built up their business from an east London record shop, and had its own distribution system, recording studio and pressing facilities. It enjoyed a fruitful first decade of operation but lay dormant until 1950, when Morris Levy revived it. It started its rebirth by licensing from the American Mercury Records label, before turning to British acts.
Early hitmakers included the Chas McDevitt Skiffle Group with the Number 5 ‘Freight Train’, featuring Nancy Whiskey on vocals, and Liverpool-born former Butlins Redcoat Russ Hamilton’s ‘We Will Make Love’, which reached Number 2 in the UK singles chart in 1957. Oriole also produced cover versions of chart hits, released on the budget Embassy Records label through Woolworths stores.
The stakes rose considerably when John Schroeder joined in December 1961. His brief was to develop Oriole, the only independent record company at the time, into a rival for major labels like EMI, whence he had come after carving a reputation as Cliff Richard producer Norrie Paramor’s songwriting sidekick. It was, he admitted, ‘Quite a daunting proposition.’
His first hits came with singer Clinton Ford, who mixed country with comedy, followed by Maureen Evans. Her ‘Like I Do’ made Number 3, sold a quarter of a million records and inspired Paramor to send Schroeder a personal note saying: Congratulations on “Like I Do”. Please leave some space in the charts for me!’
The Spotniks, an instrumental group from Sweden, introduced themselves to Oriole when their manager heard the label’s sponsored show on Radio Luxembourg. They made the Top 30 with ‘Orange Blossom Special’, promoted by an appearance in space suits on BBC-TV’s Top Of The Pops (this was in the era of the space race between America and the Soviet Union). They would follow up with an equally unlikely cover, ‘Hava Nagila’; this did even better, but the gimmick inevitably faded.
Other signings of note included Susan Singer (Helen Shapiro’s cousin) and the Dowlands, a duo produced by maverick Joe Meek in an independent deal. Jackie Trent was another discovery, a talented singer-songwriter who would eventually team personally and professionally with Tony Hatch.
Among the people who approached Oriole but didn’t make it were Jonathan King, a chart-topper a few short years later with “Everyone’s Gone To The Moon’, and Galt McDermott, Canadian composer of the hit Sixties musical Hair.
Oriole and Schroeder’s place in the history books was assured when they became the first record label to bring Motown to Britain. Schroeder took label boss Berry Gordy and vice president Barney Ales to dinner at the Talk of the Town nightclub to seal the deal. He had something in common with Gordy in that they were both successful songwriters, Schroeder having penned Helen Shapiro’s first hits.
‘I knew we had a mammoth task ahead of us,’ Schroeder later explained, ‘but I also knew the sheer talent featured on this label could not help but eventually register. It was only a matter of time.’ Oriole released nineteen Motown discs in total on their black and white Oriole American label, but were stymied by the lack of domestic airplay for the music.
Schroeder had the courage to begin the operation with three singles released simultaneously in September 1962 – Mary Wells’ ‘You Beat Me To The Punch’, The Contours’ ‘Do You Love Me’ and the Marvelettes’ ‘Beechwood 4-5789’, all featured here. For two years he and his team worked on Motown’s music. But no sooner had they tasted real success with Stevie Wonder’s ‘Fingertips Part 2’, than the licensing contract expired and Motown moved on to EMI Records.
John Schroeder’s next move, in July 1963, was to thrust Oriole into the thick of domestic pop by taking a mobile recording unit to Liverpool and recording two albums of local talent entitled ‘This Is Mersey Beat Vol 1 and 2’. Many bands got their first break this way, but while Schroeder met both John Lennon and Beatles manager Brian Epstein he was inevitably beaten to the biggest names by his wealthier rivals.
Oriole ceased to exist in 1964 when American recording giant Columbia bought the company and renamed it CBS Records. The attraction was Oriole’s record pressing factory in Aston Clinton Buckinghamshire. John Schroeder had, by then, moved on to Pye Records where he would produce Status Quo and Man, among many others. He has written about his Oriole years in a book, Sex & Violins (Pen Press), which is much recommended.
Oriole worked hard to compete with the ‘big boys’, but ultimately the stakes were too high for a family firm. The music they brought to the market was, however, fascinating, and still has the capacity to entertain half a century later.
|One Day Music 2013||2-CD||8.00 €
|VA: - Swampbilly Shindig 2CD
Swampabilly Shindig leaps deep into the bayous and plantations of the Deep South. Here, although racial segregation remained law, black and white music mixed with country and rockabilly taking beautiful shape as the hillbilly cats learnt from their blues playing and gospel singing neighbours. Gathered here are 50 tunes with Southern roots from artists as legendary (and as different) as The Staple Singers, Elmore James and Jerry Lee Lewis.
|Union Square Music 2013||2-CD||10.00 €
|Ventures - 4 Original Albums 3CD
4 orginaali albumia stereo ja mono versiona pakattuna kolmen CD:n boxiin. Bonuksena kolme varhaista vokaaliraitaa poimittuna bändin sinkuilta.
|IMC Music 2012||2-CD||15.00 €
|Ventures - Walk Don't Run 2CD
||One Day Music 2012||2-CD||7.00 €
|Yardbirds - Smokestack Lightning 2CD
The Yardbirds exploded out of the London suburbs in 1963 delivering a combination of blistering rhythm and blues and a string of mind-boggling singles which blazed a trail for psychedelic rock. An unparalleled trio of guitarists (Eric Clapton, Jeff Beck and Jimmy Page) provided the rocket fuel for this underrated band’s stunning carrer.
|Union Square Music 2012||2-CD||12.00 €
GOOFIN' RECORDS 30th Anniversary Party
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA