10``LP
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Turner Big Joe - Blues No. 5 – Big Joe Is Here (10``LP)
€32,50Quick ViewBEAR FAMILY Vinyl Club Exclusive – limited collectors edition, exclusively from Bear Family’s Onlineshop and Mailorder – no reseller conditions
1-LP 10”, light blue vinyl, limited to 500 copies. 10 tracks. Total playing time 26:20 min.
10inch LP (limited edition – light blue vinyl)
10 tracks. Unique 10inch in the 11000 LP collectors series.
Reissue of the rare French 10″ LP Atlantic 332015 from 1962!
Reproduction of the original cover of the exclusive French edition.
Carefully remastered for this LP release and pressed on high quality vinyl!
Limited edition of 500 copies in colored vinyl!In 1959, Big Joe Turner’s album ’Big Joe Is Here’ was released as a regular long-playing record, at first in the U.S. on Atlantic 8033. Three years later, the French Atlantic label took down two tracks – Don’t You Cry and After My Laughter Came Tears – from the original LP and released ’Big Joe Is Here’ as a 10inch LP under the new title ’Blues No. 5’ with a different cover under catalog number 332015.
The recordings for ’Big Joe Is Here’ or ’Blues No. 5’ were made in the late 1950s after Big Joe Turner had landed great rhythm and blues and R’n’R hits a few years earlier.
In those days Turner took his cue from Kansas City combo jazz, singing blues ballads and occasionally letting his rock side break through. An atmospherically dense and soulful work.
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Howlin’ Wolf - Boy, You Got The Blues There Vol. 1 (10``LP)
€27,50Quick View1-LP 10inch vinyl with booklet, 45 RPM, 10 tracks, total playing time 28:50 min.
Howlin’ Wolf’s earliest recordings (1951 – 1953), recorded by Sam Phillips at his Memphis Recording Service and unreleased at the time!
Alternate versions and unreleased masters discovered more than 25 years later.
Brutal, primal electric blues from one of the true greats of the genre!
Willie Johnson’s guitar amp barely survived these sessions.
Digitally copied from the original sources and currently remastered for the vinyl edition using state-of-the-art studio technology.
Liner notes and discographical details in the illustrated booklet by British blues expert and historian Martin Hawkins.
Coming soon: ’Boy, You Got More Blues There’ (BAF14032) with another 10 originally unreleased Memphis recordings.This 10” vinyl LP contains music that cemented the style of one of the greats of the Mississippi blues and later of Chicago rhythm and blues.
Between May 1951 and early 1953 the Howlin’ Wolf, Chester Burnett, made his first-ever recording sessions. They took place in Tennessee at the Memphis Recording Service, where producer and engineer Sam Phillips was not afraid to take a chance on a singer who was already over forty years old and whose then small claim to fame was a local radio show across the river at KWEM in West Memphis.
In fact, nothing would have stopped Phillips recording the Wolf. Phillips was captivated by his voice. He was the first to hear and understand the man’s potential.
Sam Phillips said that he heard Wolf on the radio and got word to him at KWEM that he would be interested in recording him. He placed him under contract in spring 1951, and sold Wolf’s recordings to Chess Records in Chicago. The first release, How Many More Years, became a national number four R&B chart hit that summer.
Chester Burnett, the Howlin’ Wolf, only recorded in Memphis for two years, but that was time enough for him and his band with the ingenious guitarist Willie Johnson to perfect many of his trademark phrases, howls, rhythms, riffs, and solos.
Sam Phillips captured all these moments of creation in the ten tracks in this album (and in ten more in the linked album ‘Boy, You Got More Blues There’ – BAF14032) which remained unissued in Phillips’ tape boxes for over twenty-five years until rediscovered.
So, what you hear in this album is vitally important blues music, and it’s supremely good.
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Rainwater Marvin - Tough Top Cat (10``LP)
€20,00Quick ViewInfo:
Marvin Rainwater was one of those artists who was somewhere between country and rock’n’roll. And his style was perfectly adaptable to both genres without any problem.
This album compiles some of his greatest hits in both ways, reflecting just how versatile Marvin could be.
The country side includes his country top-seller GONNA FIND ME A BLUEBIRD, perhaps the most successful song of Marvin’s career.
On the other hand, apart from his great rockers like I DIG YOU BABY or WHOLE LOTTA WOMAN, which reached number 1 in the UK, this LP includes some of his earlier rockin’ tunes like HOT AND COLD or the powerful MY BRAND OF BLUES, and also the two tracks he recorded in the early 60’s with Link Wray & his Wraymen, BOO HOO and TOUGH TOP CAT, where you´ll plainly see that Marvin’s voice was perfect to any kind of rock’n’roll.
DeeJay Francho -
Clark Sanford - Arizona Finest (10``LP)
€20,00Quick ViewInfo:
The magic of Arizona rock’n’roll passes through the hands of Lee Hazlewood. This legendary producer, musician and composer, who in the mid-60s became an icon of pop music after achieving the massive success of Nancy Sinatra’s These Boots Are Made For Waking, was like a magnet for any talent that approached him, already from the mid 50’s, when he began to work as DJ on several Arizona radio stations. In those years he became the architect of the Duane Eddy guitar sound, but shortly before he had his first hit with THE FOOL, a song written by Hazlewood and sung by Sandford Clark, with the great Al Casey on guitar.THE FOOL was a big hit for Lee Hazlewood and Sanford Clark, which won them the confidence of Dot, but unfortunately, they did not get a follow-up that would consolidate Sanford’s career.
Despite this, first Clark’s recordings at Dot Records, and then at Jamie, are some of the most personal and haunting rock’n’roll and rockabilly recordings of the second half of the 50s.
Sanford’s honeyed, velvety voice fit Lee’s compositions like a glove, something that is well reflected in songs like BAD LUCK, STILL AS THE NIGHT or THE CHEAT.
This LP features 10 fantastic rockers recorded by Sanford and produced by Lee Hazlewood during his tenure with Dot and Jamie, including jivers like LOU BE DOU or the dancefloor winner MODERN ROMANCE, as well as more intimate and personal songs. A selection that shows how unfair the music business can be, overlooking all these jewels and condemning Sanford to the long list of the one hit wonders.
DeeJay Francho 2022 -
Brown Billy - His Rockin’est (10``LP)
€20,00Quick ViewInfo:
Billy Brown was already in his thirties when the rock´n’roll big bang of 1956 hit, but his advantage was that he was no newcomer.
Beginning his musical career as a singer around Virginia’s round-ups, in 1950 Billy signed with Columbia Records, where he remained for three years, recording country and hillbilly, until he left music for the Uncle Sam’s calling.
His return to music took him first to Decca and then to Stars. Inc, where he would release a single that would make a difference, including on the A-side the song DID WE HAVE A PARTY, a full-fledged response to PARTY that Elvis was promoting in his new film Loving You. At the recording session, Billy was accompanied on guitar by future country star Jerry Reed. There was no more hillbilly in Billy’s music, only rock’n’roll.
That record took him back to Columbia: the label was madly looking for an answer to RCA’s Elvis, and thought Billy had a chance, so they reissued the record DID WE HAVE A PARTY / IT’S LOVE, giving it good promotion, even leading to Billy appearing on the national TV show American Bandstand.
During the rest of 1957 and 1958, Billy would do 4 more sessions for Columbia, backed by the entire Nashville A Team at the Owen Bradley Studio. Four more singles would come out of those sessions, always between rock’n’roll and pop, with great songs like RUN’EM OFF, FLIP OUT or NEXT, but the sales didn’t go as far as Columbia intended.
In 1959, Billy left Columbia, and a year later Billy would release 3 more singles on Republic, moving between country and rock’n’roll. Although the three singles enjoyed a deployment of means in the studio very appropriate to Billy’s style, none of the records had the promotion they deserved, and didn´t succeed.
This LP recovers Billy Brown’s rockin’est songs, all of them belonging to his period between 1957 and 1961 for Columbia and Republic, authentic rock’n’roll and pop pearls, which until now had not been recovered in a complete album dedicated to this artist.
DeeJay Francho -
Perkins Carl - Sister Twister 1960-1962 – The Complete Columbia Singles – Vol. 2 (10``LP)
€20,00Quick ViewWhen in 1957 he left Sun Records with his friend Johnny Cash, poor Carl had seen how all his mates were overtaking him, Jerry Lee was beginning to stand out as the wildest star in rock’n’roll, Johnny Cash was energing as one of the biggest names in country music… and while he barely managed to place any of his singles in the country charts.
So Carl signed with Columbia Records, hoping that a major label would make it easier for his music to succeed. In his first period there, from 1958 to 1962, he recorded some very high-quality songs, most of which were only released as singles.
This 2 LP series compiles the 11 singles Carl released on Columbia Records during those years.
In the first volume we find his greatest rock’n’rollers, well reflected with his first single JIVE AFTER FIVE / PINK PEDAL PUSHERS, but also his first firm bets for country with a pop vein, like Y.O.U or JUST FOR YOU, and wonders with a lot of early 60’s Memphis sound, like the wonderful HIGHWAY OF LOVE.
The second volume compiles the singles released in the period from 60 to 62, in which Carl personally lived one of the hardest stages of his life, his brother Jay died, his band split up and he began an unstoppable drift towards alcoholism. Anyway his recordings kept on the higest level, in those sessions Carl’s sound became more complex, trying to update it playing different styles, sometimes even drifting towards rhythm & blues.
Despite this, and despite having magnificent songs like LOVEVILLE, or HOLLYWOOD GIRLS, only with his penultimate single SISTER TWISTER / HAMBONE, two songs that had their feet firmly planted in the more rhythm & pop sounds of the new Memphis labels like Hi-Records or Stax, Carl once again managed to enter the charts.
Columbia did not renew Carl’s contract, and he would sink for the next few years, until 1964, when after signing for Decca he would be acclaimed on his first European tour, being received as one of his main influences by a Liverpool quartet called The Beatles, and collaborating with them on the recording of their fourth LP, where they would record two of his songs on Sun.DeeJay Francho
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Perkins Carl - Jive After Five 1958-1960 – The Complete Columbia Singles – Vol. 1 (10``LP)
€20,00Quick ViewWhen in 1957 he left Sun Records with his friend Johnny Cash, poor Carl had seen how all his mates were overtaking him, Jerry Lee was beginning to stand out as the wildest star in rock’n’roll, Johnny Cash was energing as one of the biggest names in country music… and while he barely managed to place any of his singles in the country charts.
So Carl signed with Columbia Records, hoping that a major label would make it easier for his music to succeed. In his first period there, from 1958 to 1962, he recorded some very high-quality songs, most of which were only released as singles.
This 2 LP series compiles the 11 singles Carl released on Columbia Records during those years.
In the first volume we find his greatest rock’n’rollers, well reflected with his first single JIVE AFTER FIVE / PINK PEDAL PUSHERS, but also his first firm bets for country with a pop vein, like Y.O.U or JUST FOR YOU, and wonders with a lot of early 60’s Memphis sound, like the wonderful HIGHWAY OF LOVE.
The second volume compiles the singles released in the period from 60 to 62, in which Carl personally lived one of the hardest stages of his life, his brother Jay died, his band split up and he began an unstoppable drift towards alcoholism. Anyway his recordings kept on the higest level, in those sessions Carl’s sound became more complex, trying to update it playing different styles, sometimes even drifting towards rhythm & blues.
Despite this, and despite having magnificent songs like LOVEVILLE, or HOLLYWOOD GIRLS, only with his penultimate single SISTER TWISTER / HAMBONE, two songs that had their feet firmly planted in the more rhythm & pop sounds of the new Memphis labels like Hi-Records or Stax, Carl once again managed to enter the charts.
Columbia did not renew Carl’s contract, and he would sink for the next few years, until 1964, when after signing for Decca he would be acclaimed on his first European tour, being received as one of his main influences by a Liverpool quartet called The Beatles, and collaborating with them on the recording of their fourth LP, where they would record two of his songs on Sun.DeeJay Francho
