CD

Showing 1–24 of 1472 results

  • Genies / Don & Juan - Who’s That Knocking / What’s Your Name (CD)

    13,00

    THE GENIES were a short-lived DooWop group who dented the US Top 100 in 1959 with their very first release, ’Who’s That Knocking’, and ceased trading a year or so later after cutting a handful of 45s.

    DON & JUAN were a DooWop vocal duo who registered a massive, million-selling hit with ’What’s Your Name’ in early 1962, but were unlucky with follow-ups.

    The link between The Genies and Don & Juan was the lead voice of Claude Johnson, a vastly underrated singer and above average songwriter who, despite these two brushes with success, remains something of a mystery man.

    The Genies’ other ’main man’ was singer Roy Charles Hammond, who later became well known as Roy ’C’.

    This compilation anthologises all the known recordings of The Genies and Don & Juan to the end of 1962, and also features a couple of Hammond’s spinoff Genies-oriented projects.

    These sides are all collectors’ rarities, many of which are hard to find elsewhere on CD.

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  • Grimes Tiny - Rocking The House – Jukebox Singles As & Bs 1947-1953 (CD)

    13,00

    Lloyd ’Tiny’ Grimes was a master guitar player and a pioneer in the world of music at a time when R&B music was becoming Rock ’n’ Roll.

    26 tracks by the man many claim was the ’inventor’ of Rock ’n’ Roll.

    Contains the A & B sides of records issued by the guitarist on Atlantic and Gotham labels between 1947 and 1953 including his 1948 hit ’Midnight Special’.

    Musicians on these sessions include tenor sax player Red Prysock and bass player Ike Isaacs, both famous for their overall contribution to music.

    The appearance of Claudine Clark on the final track asks the question ’Is it the same Miss Clark who recorded ’Party Lights’ in 1962?’

    The CD comes with an informative booklet containing label scans, photos and press ads for the artist from the time of the recordings.

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  • Brenston Jackie - The Blues Got Me Again – Singles 1951-1962 (CD)

    13,00

    JACKIE BRENSTON’s name is of course ubiquitous in all discussions and/or essays concerning ’What was the very first Rock & Roll record?’ due to his bootin’ ’Rocket 88′, a #1 R&B record in 1951 which was famously covered by Bill Haley & His Saddlemen.

    Brenston was a singer/saxophonist in Ike Turner’s band, and his sole hit was essentially a head arrangement based heavily on Jimmy Liggins’ ’Cadillac Boogie’, which came together in Sam Phillips’ recording studio, in Memphis.

    Although the disc was credited to ’Jackie Brenston & His Delta Cats’, they were actually Ike Turner & His Kings of Rhythm.

    However, although follow-ups like ’My Real Gone Rocket’ and ’Independent Woman’ are highly-regarded by collectors, he was unable to register another hit.

    This compilation comprises everything that Brenston recorded as a lead vocalist between 1951-62, either solo, with Ike Turner, or with Chicago guitarist Earl Hooker; this is the first time that these twenty-seven tracks have been thus compiled.

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  • Garlow Clarence - In A Boogie Mood 1949-1956 (CD)

    13,00

    Singer/multi-instrumentalist CLARENCE GARLOW (he played guitar, accordion and fiddle) is best known for his 1950 R&B Top 10 hit ’Bon Ton Roula’, recorded for the Houston-based Macy’s label.

    A disc once described as ’The Rhythm & Blues-laced Zydeco song which introduced the Louisiana music form to a national audience’, it has also been widely recorded as ’Let The Good Times Roll’, a loose translation of its Cajun-French song title.

    Although Garlow never registered another national hit, he was a huge star throughout Texas and Louisiana throughout his career, and his subsequent releases on labels like Feature, Aladdin, Goldband, Flair and Folk-Star – all included herein – were significant regional successes.

    This body of work has been unavailable on CD for many years.

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  • Williams Paul And His Orchestra - Doin’ The Hucklebuck And Other Jukebox Favourites 1948-1955 (CD)

    13,00

    Saxophonist/bandleader PAUL WILLIAMS cut one of the biggest hits of 1949, ’The Huckle-Buck’, which topped the US R&B charts for fourteen weeks.

    A hugely influential disc, it was one of the first to employ the honking tenor sax solo which would become the hallmark of R&B and R&R during the 1950s.

    This compilation, which is built around ’The Huckle-Buck’, also includes Williams’ other 1940s R&B hits, ’Thirty-Five Thirty’, ’The Twister – Parts 1 & 2’, ’Waxey Maxie’, ’Walkin’ Around’, ’House Rocker’, ’He Knows How To Hucklebuck’, and ’Pop-Corn’.

    These sides, recorded between 1948-55, present a powerful body of work; notable featured sidemen include Wild Bill Moore and Noble Watts (tenor saxes), Mickey Baker (guitar) and singers Larry Dale and Little Willie John.

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  • Ballard Hank & The Midnighters - Rocks (CD)

    20,00

    1-CD (Digipak) with 36-page booklet, 30 tracks. Total playing time approx. 79 min.

    – It was Hank Ballard who, with his band, created The Twist in the late ’50s, the greatest dance theme yet invented.
    Bear Family Records® now dedicates a CD album to Hank Ballard & The Midnighters in the long-lasting ’ROCKS’ series.
    Ballard had taken the U.S. charts by the mid-’50s with numbers like Work With Me Annie and Annie Had A Baby.
    Producer Nico Feuerbach and author Bill Dahl have compiled the most successful and best rocking R&B numbers as well as the stunning twist hits from the King/Federal catalog into an utterly danceable project.

    – Extensive, lavishly illustrated booklet with expert liner notes by Bill Dahl and carefully remastered recordings from the Gusto Records archives.

    Early in their long stint at Cincinnati’s King/Federal Records, Hank Ballard and his high-stepping Midnighters specialized in risqué double-entendre grinders – Work With Me Annie, its inevitable sequel Annie Had A Baby, Sexy Ways – that daringly pushed the bounds of propriety as they sailed up the mid-1950s R&B charts like rockets. As the tumultuous decade neared its conclusion, Hank and his bawdy Detroit-based crew invented the greatest dance theme of ‘em all, The Twist, embarking on a slew of additional workouts after that.

    Both phases of the group’s vast recording legacy are represented in abundance on ‘Hank Ballard and The Midnighters Rock,’ its highlights also encompassing Finger Poppin’ Time, Let’s Go, Let’s Go, Let’s Go, and The Hoochi Coochi Coo. Get out your dancing shoes for this one – Chubby Checker may have ultimately won the Twisting wars, but Hank Ballard and The Midnighters were rocking houses coast to coast long before Chubby ever even saw the inside of a recording studio, and that mindset permeates this disc. When it came to rock and roll dance fare, Hank and his rowdy group were the living end!

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  • Various - Rhythm & Western Vol. 1 – When Two Worlds Collide (CD)

    15,00

    This album opens with a fantastic doo-wop version of the first number 1 Hillbilly- Honky Tonk hit ever ”Pistol Packing Mama” by the Hurricanes, followed by Long John Hunter’s rendition of Grandpa Jones classic ”Old Rattler” before moving to “A Knockin’ At My Baby’s Door” – a song that I believe would have been regarded as C&W if only a white singer instead of Titus Turner would have recorded it. Same thing for tunes like ”Ida Red” and ”Rosa Lee” and many more. I really dig Koko Taylor’s take on Webb Pierce’s ”Honky Tonk Song” and Gene Autry’s classic ”Take Me Back To My Boots And Saddle” by the Ray-O-Vacs. I always thought Fats Domino had a strong C&W thing to most of his songs and it’s really plain to see just listening to his version of Hank Williams ”Your Cheating Heart” featured here. The King Curtis version of the classic ”Home on The Range” sounds to me just like the records made in Nashville around that time by white C&W sax player Boots Randolph (that actually tried hard to sound like Curtis) and also the classic Country tune ”When Two Worlds Collide” by Damita Jo sounds 100% like something straight out the top of the C&W charts of that era. Too bad she was the wrong color. Esther Phillips’s take on ”Release Me” (popularized by Ray Price and Kitty Wells) had the same fate in the C&W charts but scored a nice number 1 on the R&B charts – despite sounding just like a white Nashville C&W production. Guitar Jr. gives us a gritty version of ”Pick Me Up On Your Way Down” another chestnut recorded by Charlie Walker, Buck Owens, Patsy Cline, Jerry Lee Lewis, and a lot more. The great Scatman Crothers takes ”Ghost Riders In The Sky” (the greatest Western song of all time) straight to Harlem. I included many other ”Rhythm & Western” gems here by Smokey Hogg, Wade Flemons, The Coasters, Mercy Dee, Solomon Burke, and The Crowns. The best known is probably ”Maybellene” by Chuck Berry – the epitome of a C&W song done by an African-American artist. The closing track is the first recording of the classic Western track ”Corinne Corrina” by Charlie McCoy & Bo Chatman. In 1928 when the song was released, this was a black ”Blues” track. Decades later this black sound became magically white, and this type of music was suddenly white as snow.

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  • Various - Rockin Soul Party Vol. 4 (CD)

    15,00

    The metamorphism of sounds featured in Let’s Throw A Rockin’ Soul Party Volume 04 (KM-CD-133) is derived from rhythm & blues music with a “New Breed” influence from the up and coming stars of the genre and they are taken from the years 1957 through to 1963.

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  • Various - 120 Years Of The Cadillac Car (CD)

    15,00

    Caddies were the ultimate expression of America’s post-war prosperity and the 1950s dream. The automobile brand will be one-hundred and twenty years old on 22 August 2022, and Atomicat Records shines its headlights onto the Cadillac car with an inspiring variety of songs. The concept of the Cadillac car was the brainchild of; William Murphy, Lemuel Bowen, and Henry M. Leland who designed the first-ever Cadillac car in 1902, and this album is dedicated to them and their automobile which became synonymous with the ”Fabulous Fifties.”

    Atomicat Records Anniversary series celebrates 120 Years of the Cadillac Car (ACCD117) with thirty motorvatin’ songs from 1948 through to 1962 paying homage to the gadget-laden ”Fabulous Fifties” dream car.

    Atomicat takes a different slant to the topic, and we source songs from the genres of Rhythm & Blues, Blues, Doo-Wop, Rock ‘n’ Roll, and Hillbilly. Then we dig a little deeper and include groups named after the automobile, and finally songs that have Cadillac in the lyrics. Atomicat’s seven-dimension tribute allows you can hear how the car entered into the different cultures and influenced songwriters.

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  • Various - Sadie’s Gentlemen’s Club V4 – Ecstasy (CD)

    15,00

    Ie rendezvous à la Maison du rouge known as Sadie’s Gentlemen’s Club aka The House of Sin – Visit 04 – Ecstasy – Atomicat Records (ACCD109) the message is Try Love (Just One More Time). The concept is presented Atomicat style “loud, pulsating and vibrant” and sourced from the years 1942 onwards with most of the sounds being from the mid-1950s music through to 1963.

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  • Various - Rhythm & Blues Goes Rock & Roll 1 – My Baby Left Me (CD)

    15,00

    Aomicat Records (ACCD101) looks at Caucasian men and women from differing music backgrounds who covered R&B songs. The music within My Baby Left Me is sourced from the golden years of 1955 through to 1963, from labels large and small. The 28-song album is stuffed full of American and Australian Rockers, with numerous artists being mostly unknown, but not lacking in star quality. The albums are perfect for collectors who wish to own a more diverse range of songs, and those who enjoy dancing.”

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  • Various - It Happened At The Hop: Edison International Doo Woppers & Sock Hoppers (RSD) (CD)

    20,00

    It Happened At The Hop is the first ever compilation highlighting the deep doo wop and teen frenzy from Hollywood’s Edison International label. The Austin Sisters deliver the title cut and its flip, Billy Bobbs & The Chips bring the raucous side of doo wop with ’Shim Sham’ and ’Teedle Dee Bum Bum,’ Linda Strangis brings us her rare 45 cuts and an unissued gem ’The Dipsy Doodle.’ Featuring cuts only available on rare 45s and previously unissued gems, plus liner notes from Brother Cleve (Combustible Edison).
    Quantity: 400
    Release type: ’RSD First’ Release

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  • Hollywood Flames - Buzz, Buzz, Buzz – The Singles Collection 1950-62 (3CD) (CD)

    18,00

    The Hollywood Flames were a doowop and R&B vocal group, who formed in Los Angeles in 1949, and remained active under a variety of names and with evolving line-ups through into the early 1960s, enjoying a major pop and R&B hit with “Buzz Buzz Buzz” in 1957, and with Bobby Day as featured singer had big hits as Bobby Day & The Satellites. With Robert Byrd (aka Bobby Day), David Ford, Gaynel Hodge and Earl Nelson as long serving key members among the changing personnel, they recorded variously as the Flames, Hollywood Four Flames, The Jets, The Question Marks, The Satellites, The Ebbtides, and The Turks, their records being released on an equally bewildering array of labels. This great-value 78-track 3-CD set comprises most of their A & B sides of their releases under those names on the Selective, Unique, Fidelity, Specialty, Recorded In Hollywood, Spin, 7-11, Swing Time. Lucky, Aladdin, Money, Cash, Class, Ebb, Chess, Goldie and Coronet labels during these years. It features their pop No. 11 and R&B No. 5 “Buzz Buzz Buzz”, and R &B No. 26 “Gee”, plus the pop No. 2 and R&B No. 1 “Rockin’ Robin”, and the pop chart entries “Little Bitty Pretty One” and “Over And Over”. As a group whose music had to compete a dynamic and rapidly evolving market, it encompasses old-school doowop, R&B, and in the later years pure rock ‘n’ roll, and this substantial collection is thoroughly entertaining showcase for their talent and versatility.

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  • Various - Easter Parade – 29 Easter Eggs For The Springtime Basket (CD)

    10,00

    1-CD with 20-page booklet, 29 tracks. Total playing time approx. 78 min.

    With ’ Easter Parade ’ Bear Family Records® presents the third CD compilation on the subject of Spring and Easter – as the first record company worldwide we dedicate ourselves extensively to the music related to Easter and the feelings of Spring.
    Nostalgic memories with 29 recordings from four decades, from 1932 to 1962.
    It’s not just about Easter eggs and chocolate bunnies here – the music selection is correspondingly varied, ranging from easy listening and pop to country music and blues to jazz, doo-wop and rock’n’roll.
    Well-known artists such as Sarah Vaughan, Bing Crosby, Chubby Checker or Pat Boone meet here with little-known artists and rare recordings, some of which appear on CD for the first time, including a shellac record by the British New Concert Orchestra – in brilliant sound quality!
    We have selected the title song and the main melody from the feature film ’April Love’ by the Lionel Newman Orchestra.
    The Easter Bunny hops sometimes to Country Music (Jimmy Wakely, Speedy West & Jimmy Bryant a.o.), sometimes to Jazz (Ernie Freeman, Johnny Hodges a.o.) and Rock ’n’ Roll with Frankie Lymon, Tex Harper, Chuck Higgins and many more.
    Lovers of R&B and doo-wop will also get their money’s worth: The Tri-Tones, Billy Bland, Don & Juan and others.
    The full-color booklet includes rare photos and memorabilia, as well as liner notes for each track, written by Marc Mittelacher.

    Easter Parade
    While in Europe the Easter promenade – luckily in the spring sun – is a tradition, in the cities of North America people meet after the church mass on Easter Sunday for the traditional Easter Parade. Legendary composer Irving Berlin wrote the music for the Hollywood classic ‘Easter Parade’ starring Fred Astaire and Ginger Rogers. The title song can be heard here in the interpretation of Sarah Vaughan & Billy Eckstine!

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  • Laurie Annie - The Annie Laurie Collection 1945-62 (2CD) (CD)

    15,00

    Annie Laurie was an R&B, blues and sophisticated jazz and pop singer born in Atlanta, Ga., in 1924, who came to prominence in 1947 with her debut hit “Since I Fell For You”, and over the next 15 years recorded and released material which brought her several more successes in both pop and R&B charts, recording for much of the early era of her career with a trio and band led by pianist and songwriter Paul Gayten. At the start of her career she recorded at Cosimo Matassa’s legendary J&M Studios in New Orleans, which gave her work from those years a distinctive Crescent City sound.

    This excellent- value 51-track 2-CD set comprises comprising most of the A & B sides of her releases on the Cosmo, De Luxe, Regal, Okeh, Savoy and Ritz labels from this era, including performances with the bands of Paul Gayten and Danny Kessler, as she rode the waves of the upheavals in the market occasioned by the advent of rock ‘n’ roll to take her hit-making career into the 1960s.

    It features all her career pop and R&B chart entries, including the R&B No. 3 hits “Since I Fell For You” and “It Hurts To Be In Love”, and her other Top 10 hits “Cuttin’ Out” and “I’ll Never Be Free”. She was a highly versatile vocal stylist, equally at home with upbeat jump blues material, grooving R&B songs, and smoothly polished jazz-flavoured pop, and this collection provides a varied and entertaining showcase for her distinctive talent.

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  • Cooke Sam - Spotlight On (CD)

    15,00

    The Koko Mojo Records Spotlight is shone onto Sam Cooke (he added the ”e” to his last name in 1957 to signify a new start to his life) and looks at his involvement within the music world. The album does not rely upon his hit recordings, these are available on numerous albums, and in typical Koko Mojo style, and we sample the best of the rest. These recordings are equally as good and will allow fans of his music to add to their collection, not duplicate recordings. The album runs chronologically by year and looks at Cooke’s secular and non-secular recordings, and then adds in some of Cooke’s compositions recorded by other artists.
    The album commences with two fiery Specialty records gospel recordings from the early 1950s, Jesus Gave Me Water and Touch The Hem Of His Garment by The Soul Stirrers featuring Sam Cook as a vocalist. In 1957 he swapped to secular music and upon signing with the independent Keen label Cook became known as Sam Cooke. The fledgling label was newly formed by Los Angeles-based businessmen John and Alex Siamas. Cooke’s first album simply titled Sam Cooke was released in 1958, and from here onwards his secular career was underway. In 1959 Cooke left Keen over a royalty dispute, and in 1960 he signed with RCA Victor and began writing blues, gospel-inflected songs, and from this period his chart career became more high profile. From his involvement with these labels the album showcases twenty recordings including; Win Your Love For Me, Running Wild, No One (Can Ever Take Your Place), Happy In Love, The Twist, and Shake, Rattle And Roll.
    Cooke was riding the crest of a wave and crossing over into the mainstream charts, and branched out into music production in 1961, and founded SAR Records, with Hamilton, Mississippi-bred J. W. Alexander and his manager, Roy Crain. The SAR recordings provide two titles from the reformed Soul Stirrers, Jesus Be A Fence Around Me, and He’s Been A Shelter For Me, The Simms Twins, The Smile, Johnnie Taylor with the soulful Rome (Wasn’t Built In A Day), and switching to the United Artists label, Pow! You’re In Love by The Falcons, all of which Cooke had a writing credit from Cooke.
    The sleeve notes from Dee Jay and the re-issue producer Mark Armstrong tell the Cooke story, and artist Urban Zotel brings the album visually to life and the boys at The Studio That Time Forgot, El Paso, Texas provide the vivid Koko Mojo sound.

    Dee Jay Mark Armstrong Bühl, Germany

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  • Dixon Willie - Koko Mojo Songwriter Series (CD)

    15,00

    “Rhythm & Blues music without the contribution of Willie Dixon is unimaginable. The Songwriter series looks at the craftmanship of Vicksburg, Mississippi-bred musician and song writer William (Willie) James Dixon who helped define the West-side sound created in the Chicago based studios.”

    The musically journey in Willie Dixon, Hard Notch Boogie Beat (KM-CD-156) explodes into action in 1947 and boogies through to 1962. The album is filled to abundance with up-tempo boogie-blues, energetic rhythm & blues and some sultry female R&B divas add to the all-round look at his influence on popular music.
    Dixon who was one of the greatest bassets and song writers in the world and he is featured with six recordings from his tenure with the Big Three Trio, two solo recordings, and one duet with Memphis Slim. He additionally performs as session basset on many of the album’s songs, and the sleeve notes provide this information. The album has a strong focus on his prime period was with the Chicago labels, Chess, Checker and Cobra.
    The Big Three Trio first recorded for Bluebird; however, our story begins with the Bullet, Columbia, and Okeh labels. The featured Trio recordings are perfect examples of the transformation of post-war R&B music. The Big Three Trio comprised of; pianist Leonard ”Baby Doo” Caston, guitarist Bernardo Dennis (who was replaced after a year by Ollie Crawford), and upright bassist Dixon, and the trio sang ensemble. Signifying Monkey, 88 Boogie, Hard Notch Boogie Beat, and the other three Trio recordings are full of rhythm patterns which are the roots of rock ’n’ roll.
    By 1951 Dixon was a full-time employee of the Chess/ Checker labels and he worked as; producer, talent scout, session musician and staff songwriter. From the Chess/ Checker recordings you will hear Willie Dixon and His All Stars, recorded in 1955 Crazy For My Baby, and in 1956 Willie Dixon with the uncredited Moonglows providing the backing vocals sings 29 Ways. You will furthermore come across; Little Walter with Crazy Mixed Up World, the delightful pairing of Etta (James) and Harvey (Fuqua) Spoonful, Muddy Waters, Tiger In Your Tank and You Need Love, Guitar Red, Just You And I, and naturally Howlin’ Wolf and Bo Diddley join in on the fun.
    In 1957, after another argument with the Chess brothers over payments, Dixon quit the company and joined Eli Toscano’s Cobra label, where he continued to produce more outstanding West-side Blues. From Dixon’s change of employment you hear the same high-quality sound and productions from; Betty Everett with her bluesy My Love, Harold Burrage provides three exciting recordings and you hear the move towards rock ‘n’ roll in; I Don’t Care Who Knows, the jiving Stop For The Red, the throaty stroller Messed Up. Harold E. Burrage pianist skills are also heard in one of the wildest blues rockers, Magic Sam’s 21 Days In Jail. After this period together with Memphis Slim in 1960 an album was recorded for Prestige Bluesville and one song is taken from the album, the jump boogie Don’t You Tell Nobody. The solitary Argo recording Working On Me Baby is from Tiny Topsy.
    The album is compiled by Dee Jay Mark Armstrong and topped off with the best possible sound quality possible from our mastering team at our El Paso, Texas, Studio. The album sleeves are made from top-quality eco-friendly cardboard and lavishly decorated by design artist and working musician Urban Zotel. The album is ideal for Dee Jays to fill the dance floor with, and for home listening or while cruising around. You are listening to music from the past and preserving the future! Koko Mojo Records “Often imitated, never duplicated” All that remains is to say, ”crank up the volume and dig these musical gems.

    Dee Jay Mark Armstrong Bühl, Germany

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  • Various - Let’s Go Latin Again – Vocal Group Harmonies (CD)

    15,00

    “Traditional cultural cadences and the emerging rocker sounds unite in the recording studio blending together an exciting musical hybrid.”

    Koko Mojo Records return with another volume of exotic and tantalising Latino rhythms with twenty-eight songs which shine the spotlight on the vocal groups who never forgot their heritage. Let’s Go Latin Once Again – Vocal Group Harmonies presents the twenty-eight recordings from 1954 through to 1963 with the emphasis placed upon dance tempos and swaying rhythms for the lovers.
    Once upon a time, there were youthful women and men, having fun, and drinking the flavour of the Latino culture, Margarita and Spanish Daiquiri. Drifting through the air came the enchanting sonare of mambo and rhythm & blues music, the couples began swaying, and lost their inhibitions as they danced until dawn.
    Upon playing this album you will absorb the musical roots of the artists, Quito a Poquito (Los Llopis), Ay, Si, Si (The Dootones), and Que Se Mueran Los Feos (Los Xochimilcas) which is a perfect example of rock ’n’ roll and heritage amalgamating. The musical exploration will encourage your body to go up and down to the Cha Cha Twist (Brice Coefield), the emotional vocal within, I Need A Man (Gloria Irving) is sensual, and the forming of a partnership leads to the Lover’s Mambo (The Ontarios). The enchantresses of the dance-floor sway to the rhythms with sophistication and elegance, Aye Senorita (The Echoes), and Anna Macora (Calvaes). For some people, they stay at home and their lover should not be cruel and telephone them, all will be clear when you hear No Seas Cruel (Baldemar Huerta con Los Romanceros). Oh yes, here at Koko Mojo Records We Like Mambo (Eddie Bo).
    You are invited to add to your collection and make merry to the exotic cocktail of sounds on Volume One Vocal Group Harmonies – Let’s Go Latin Koko Mojo Records (KM-CD 134) and There’s Gonna Be A Ball (Rock’N’Roll Español – Tres CD de Salvaje Rock’N’Roll y Más) Atomicat Records (ACCD071).

    Dee Jay Mark Armstrong Bühl, Germany

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  • Wilson Jackie - Spotlight on (CD)

    15,00

    “Detroit, Michigan -bred Jackie Wilson was one of the most fantastic vocalists of the rhythm & blues and rock ’n’ roll era, topped off with an amazing stage show he was Mr Excitement.”

    The musical journey begins in 1953 a few weeks after Wilson’s nineteenth birthday when he officially replaced Clyde McPhatter in Billy Ward’s Dominoes (see KM-CD-94 Clyde McPhatter The Voice of R&B). Ward was a vocal coach, writer, arranger, and producer who led the Dominoes group, which comprised of only the pick of the best musicians available.
    From his tenure with the Dominoes showcased are six of Wilsons up-tempo vocal performances; You Can’t Keep A Good Man Down, Above Jacob’s Ladder, A Little Lie, Bobby Sox Baby, Learning The Blues, and St Louis Blues.
    The next stage in Wilson’s career found him scaling the music charts as a solo performer and gaining instant fame with Reet Petite (The Finest Girl You Ever Want To Meet). Wilson’s recordings from the golden years of 1957 to 1963 benefited from professional arrangements and his recordings crossed over into mainstream pop music charts.
    The classics on Mr Excitement include; the jiving tempos of Come Back To Me, Why Can’t You Be Mine, (So Many) Cute Little Girls, and Love Train. His stroll rockers attract the ladies onto the dance floor like a magnet; Come On And Love Me, Baby, I Know I’ll Always Be In Love With You, and from 1963 his pop hit Baby Workout. From here onwards his music had a cross over style amalgamation of rhythm & blues and the newly appearing soul music known as The New Breed. To bring the excitement to a thundering close there are three titles on which Wilson duets with Linda Hopkins, the gospel rocker Do Lord, I Found Love, and Say I Do.
    The album is compiled by Dee Jay Mark Armstrong and topped off with the best possible sound quality possible from our mastering team at our El Paso, Texas, Studio. The album sleeves are made from top-quality eco-friendly cardboard and lavishly decorated by design artist and working musician Urban Zotel. The album is ideal for Dee Jays to fill the dance floor with, and for home listening or while cruising around. All that remains is to say, ”Crank up the volume and dig these musical gems.
    Koko Mojo doesn’t make an album of average music our philosophy is to compile songs of quality, with every album, it’s a ”killer and no filler” ideology! You are listening to music from the past with a remastered sound that will shake the speakers.” Atomicat Records ”are often imitated, never duplicated.”

    Dee Jay Mark Armstrong Bühl, Germany

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  • Various - Sadie´s Gentlemen´s Club V3 – Taboo (CD)

    15,00

    “Atomicat Records with permission from Sadie the mysterious owner and mistress of The Gentlemen’s Club is making the music played at the venue referred to as The House of Sin available to the public. During Visit 03 – Taboo the thirty songs will take you into another frame of mind.”

    The album undeniably includes styles associated with our labels Atomicat and Koko Mojo, specifically greasy rhythm and blues and rock ’n’ roll, and within the series, we include songs that are more fitting to a late-night rendezvous club. You will encounter and absorb yourself into the genres of; titty-shakers, popcorn, twist, pop, exotica, space-age, swing, and blues. The concept is presented Atomicat style “loud, pulsating and vibrant” and sourced from the years 1947 onwards with most of the sounds being from the mid-1950s music through to 1963.
    le rendezvous à la Maison du rouge known as Sadie’s Gentlemen’s Club aka The House of Sin – Visit 03 – Taboo – Atomicat Records (ACCD108) message is you will contract Chills And Fever.
    The sexual ambiguities within Visit 03 – Taboo are plain and clear; Duke Jenkins and His Orchestra, Shake It, Howlin’ Wolf, Moanin’ At Midnight, Ella Fitzgerald, Too Darn Hot, while others refuse an offer of a fling, The Coasters, Sorry But I’m Gonna Have To Pass, and some people are active before they enter the club, Sherman ”Blues” Johnson, Back Alley Boogie.
    The album’s title Taboo is performed by Sylvie Mora and following her lead are; Don Johnston, The Whipmaster, Santo and Johnny, Slave Girl, and Steve Alaimo, Big Bad Beulah. For fun and frolics, you will get low down and groovy to the sounds of; Bobby Rey and His Orchestra, Blue Mambo, Roy Orbison, Working For The Man, The Four Seasons, Big Girls Don’t Cry, Marc Haven and The Aquarians, Hey Señorita, and for the drunken fun, Ted Jarrett (Let’s Twist) Slow and Easy.
    Every album has thirty recordings remastered Atomic style which is clear, vibrant and the music is carefully collected throughout the series to offer vibrant and diverse sounds from the numerous musical genres. The series is the brainchild of Dee Jay Mark Armstrong and has the expected vibrant Atomic remastered sound from The Studio That Time Forgot, El Paso, Texas, and the package is brought to life with wonderful illustrations from Gito Lima.
    Dee Jay Mark Armstrong Bühl, Germany

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  • McPhatter Clyde - More Of His Greatest Recordings – 3 Complete Albums Plus Bonus Tracks (CD)

    15,00

    With his mellifluous, Gospel-infused voice, former Dominoes and Drifters lead singer CLYDE McPHATTER is acknowledged as one of the greatest, most influential singers of the 1950s and 60s.

    This compilation comprises three solo albums, ’Golden Blues Hits’, ’Lover Please’ and ’Rhythm And Soul’, plus a dozen non-album 45s, all recorded for the Mercury label between 1960-62.

    These are regarded as being among his finest Mercury recordings, and include his two huge 1962 ’comeback’ hit singles, ’Lover Please’ and ’Little Bitty Pretty One’.

    McPhatter sadly died young, of alcohol-related problems, at the age of only thirty-nine, in 1972.

    This body of work – notably the non-LP singles, which appear herein as ’Bonus Tracks’ – are notoriously hard to find elsewhere on CD.

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  • Various - Southern Bred Vol. 24 Tennessee & Arkansas R&B Rockers – Dippin Is My Business

    15,00

    Dippin’ Is My Business, Southern Bred Tennessee and Arkansas Koko Mojo (KM-CD-90) is the fourth look at the birth heritage of Tennessee and Arkansas which is consolidated into the anthology due to it being referred to as West Memphis.

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  • Diddley Bo - Koko Mojo Songwriter Series (CD)

    15,00

    The ”diddley beat” is essentially the clave rhythm, one of the most common bell patterns found in sub-Saharan African music traditions, with a ” bom,bom, bom, bom, bom…” back-beat. The synoptic 5/4 rhythm pattern approach can be heard throughout his recordings and the pattern became synonymous with his style. The musical exploration takes in the years 1955 through to 1963.

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