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  • Various - Sloppy Drunk – The R&B Rockers (CD)


    90 Years Since Prohibition Ended! NYT LÄHTEE!! OTETAAN TAAS!

    The twenty nine 100 percent proof R&B rockers used on our Koko Mojo Historic Series album are a musical booze booze party from start to the finish! Koko Mojo Records (KM-CD-180) R&B Rockers, Sloppy Drunk tells the story of Wayne Wheeler‘s Volstead Act which ended 90 years ago on 5th December1933. We invite you to drink, but not to excess and party along with during our R&B Rockers, Sloppy Drunk album and musically give the finger to Wayne Wheeler‘s Volstead Act.

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  • Various - Blues Meets Doo-Wop Volume 2 (CD)


    Doo-wop is not just for Christmas. A genre often associated with the festive period at the tail end of every year, and synonymous with a picture book setting of Christmas given the radiating warmth of harmonious vocals encased in gold, and emanating from the voices of a truly gifted combo. A false representation however, because doo-wop is music fit for any occasion. Much more than the imaginative associations of a Christmas backdrop that, granted, doo-wop possesses the power to conjure such picturesque imagery, but on an entirely different trajectory doo-wop also has the ability to portray emotions where melancholy is present whether due to economic hardships or universal theme of relationship woes. It’s in these moments where we all feel something, and there is no genre better equipped with the right utensils (i.e. Vocals) to convey such emotions, in addition to providing solace from difficulties that life has a tendency to produce. Different in comparison with the wild shenanigans of rock ‘n’ roll, and different given the approach of this latest compilation series from the good folks at Koko Mojo, the genre of doo-wop makes numerous connections with the genre of blues during Blues Meets Doo Wop Volume 2.

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  • Various - Black Pearls – Rhythm & Blues Volume 5 (CD)


    Ei paha. Ei ainuttakaan huonoa biisiä. Kunnon party levy.

    ”Let’s Rock and Roll”

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  • Darnell Larry - I’ll Get Along Somehow 1949-1957 (CD)


    Larry Darnell was a huge but now-forgotten star of black music and was an important component of the sound that became New Orleans R&B in the 1950s.

    Six Billboard Top Ten hits during 1949-50, including ”For You My Love” (No.1 for eight weeks in 1949 in both the Jukebox and Best Seller charts), ”I’ll Get Along Somehow” (No.2 in 1950), ”I Love My Baby” (No.4 in 1950) and ”Oh, Babe!” (No.5 in 1950). All included here.

    This compilation collates the very best of Darnell’s slow blues and up-tempo jump recordings.

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  • Edward 'The Great Gates' White - 1949-1957 (CD)


    Jasmine’s ongoing reissue programme of premium 1950s Rhythm & Blues continues this month with what we believe to be the first ever digital compilation – and the first compilation of ANY kind since the mid-1980s – of the excellent recordings of Edward Gates White a.k.a. The Great Gates (and occasionally, The Man In The Moon).

    Gates was typical of the many West Coast-based artists who recorded consistently throughout most of the 50s, without ever really getting the recognition his superb records should have earned him. His one R&B Top 10 hit ’Late After Hours’ was a calling card that saw him label hopping across a host of small L.A. independent labels, always making great music and always hoping that another hit might eventually come. That one didn’t, was no reflection on the quality of his recordings, which – as you will hear in this Jasmine collection – are uniformly excellent.

    Backing Gates on these tracks are some of Los Angeles’ most eminent session musicians of the period, including Marvin Phillips (later of Marvin and Johnny) on saxophone, Chuck Norris on guitar and Richard Lewis – the subject of his own Jasmine CD anthology – on piano.

    Gates lived a long and full life, long enough to benefit from and appreciate the first wave of collector interest in his music almost 40 years ago. Sadly he passed in 1992, but his music sounds as great now as it did when he first recorded it more than 70 years ago.

    Watch out for more first class CDs in this ongoing series from Jasmine!

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  • Cochran Wayne - The Bigger The Pompadour … – His Complete Recordings 1959-66 (2-CD) (CD)


    2-CD (Digisleeve) with 36 page booklet, 42 tracks. Total playing time approx. 130 min.

    Wayne Cochran (1939 – 2017) from Georgia, also called ’The White Knight of Soul’, is remembered for his white pompadour hairstyle and the brilliant Last Kiss that he wrote.
    Bear Family Records® comprehensively chronicles the most creative period of his career with this double CD, from his beginnings as a young rocker and teen idol to his magnificent recordings as a compelling soul singer.
    We present all the recordings from 1959 to 1966 including his rare recordings released on local labels and the recordings for Chess, Mercury and King.
    Influenced by and a friend of Otis Redding and James Brown, among others, Wayne Cochran was a convincing performer as one of the best white soul and R&B singers.
    Includes the first recorded version ever of These Arms Of Mine written by Otis Redding.
    Music historian Bill Dahl wrote the extensive liner notes.
    We have remastered the original recordings from the best available sources.

    Long before he was anointed as ‘The White Knight of Soul,’ Wayne Cochran made a stack of intriguing but rare early ‘60s 45s for various small Georgia concerns and later considerably larger labels spanning the gamut from hauling rockers to dramatic teen tragedy themes.

    They’ve occasionally been anthologized over the years, but never as comprehensively as on Bear Family’s ‘The Bigger The Pompadour… – His Complete Recordings From 1959- 1966 (2-CD),’ a 32-track extravaganza tracing Cochran’s recording career from its humble beginnings with The Coo to just before he fully exploded on the national scene with his explosive brand of horn-leavened blue-eyed soul.

    Naturally, Wayne’s immortal pre-J. Frank Wilson and The Cavaliers rendition of Last Kiss is here in several incarnations (he wrote it) along with its little-known sequel Last Kiss II. So is the equally foreboding Edge Of The Sea.

    But Cochran’s output also included plenty of swaggering rock and roll; all of those extreme rarities are on board too, even three extremely obscure instrumentals by his combo, The Rocking Capris.

    Towards the end of the set, as Wayne and his C.C. Riders blast through Harlem Shuffle, the Mercury version of Get Down With It, and his thundering original Goin’ Back To Miami, the fully developed Cochran emerges, his sky-high white coiffure remaining awe-inspiringly intact as his mighty C.C. Riders horns blast and his melismatic screams pierce the studio air.

    Cochran was a thoroughly electrifying live act, but this jam-packed collection demonstrates that his often-overlooked recording legacy was scorching too.

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  • Various - Beware! Insects and Spiders! 28 Buzzin’ Blasters From The Vaults Of Horror


    1-CD with 16-page booklet, 28 tracks. Total playing time approx. 65 min.

    Autumn. Halloween. Horror. Bear Family Records presents a CD compilation all about creepy-crawlies: ’Beware! Insects and Spiders’!
    With 28 recordings from 1937 to 1966 around ’the big creepy crawlies’ the horror comes alive!
    Spanning genres, we hear famous artists such as Lionel Hampton, Chubby Checker and Brook Benton as well as lesser-known tunes, some on CD for the first time.

    Some instrumentals, a song by Belgian singer Freddy Sunders and an early recording featuring Jimi Hendrix are among the many highlights.

    Stylistically, the spectrum ranges from country, surf rock, exotica and pop to rhythm ’n’ blues, jazz and swing and a main focus on rock ’n’ roll.

    The 16-page color booklet includes song annotations by Marc Mittelacher and many often rare photos and memorabilia!

    Insects and spiders – a Halloween theme

    Imagine ladybugs, butterflies or honeybees and Halloween doesn’t exactly come to mind. But have you ever looked at a praying mantis in close-up?

    At the latest then you will learn to be creeped out. Such images were used as models for classic horror movies, oversized insects and spiders became song themes, the fear of spiders, one of the primeval fears of mankind, comes to life here.


    This handpicked, richly varied compilation presents a wide spectrum of genres of past times, classics, but also many rarities. About a third of the recordings are pure instrumentals, including – as a special highlight – an early recording by Curtis Knight & The Squires, whose lead guitarist was a young Jimi Hendrix!

    Guitar virtuoso Buddy Merrill opens the CD album, and from jazzman Lionel Hampton with his orchestra comes the oldest instrumental recording (1937). Extremely annoying flies are sung about by Hank Williams and Chubby Checker, with Martin Denny’s Tsetse Fly it turns exotic.

    The classic and cult film ’Tarantula’ has also left its ’footprint’ in the music world and is represented here by no less than four performers. Also a highlight: the piano version of the instrumental classic Bumble Boogie, played at breathtaking speed by the British Winifred Atwell!

    The CD comes with a 16-page color booklet containing producer Marc Mittelacher’s notes on each song as well as a wealth of illustrations!

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  • Various - Doo Wop Christmas Party (CD)


    Koko-Mojo presents a 30 track holiday sampler with Christmas Hits in Doo Wop style! Doo Wop is probably rock & roll’s most romantic music, it’s touching our heart the same way christmas music does. We believe that Doo Wop is a perfect vehicle for a Christmas song.

    We at Koko-Mojo dream of a black Christmas.

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  • Various - Booze Party – The Rockers – 90 Years Since Prohibition Ended (CD)


    90 Years Since Prohibition Ended, The Rockers, Booze Party is the response in hindsight to the National Prohibition Act, and the thirty songs challenge the preposterous law in verse.

    The National Prohibition Act, known informally as the Volstead Act aim was to make the selling of intoxicating liquids illegal, and the prohibition of consuming alcoholic beverages became law on 17th January 1920. The Anti-Saloon League’s Wayne Wheeler conceived and drafted the bill, which was named after Andrew Volstead, who was the chairman of the House Judiciary Committee, who managed the legislation. The thirteen years of “dry times“ ended on 5th December1933. It must be said that the soda pop middle-class American years of Rock ‘n‘ Roll was limited in alcohol songs titles, therefore included are some hillbilly rockers to keep the music 100 percent proof! Additionally not all the songs have an alcohol related title and the booze reference is hidden in the lyric. The consequence of the Prohibition ruling was the Mob (gangsters) took control of the outlawed booze industry. This led to murder and mob rule for several years, and the outcome of the law is clearly explained in the opening song the F-B-I Story by Rudy Grayzell. The Three Aces and A Joker hold a Booze Party and in attendance are; The Champs who have a dash of Tequila Twist, Bo Davis rocks and rolls away his problems during Drownin’ All My Sorrows, The Wailers are drinking a Tall Cool One, Jay Chevalier finds Too Many Bubbles in his glass, and all hell breaks loose when Sonny Burgess opens the Thunderbird bottle. Drinking too much booze has given Millie Vernon Bloodshot Eyes, legendary drinker Carl Perkins is in a state of over-consumption known as Dixie Fried, and Billy Lee Riley knows that the alcohol induced high in the barroom means he is Trouble Bound. Across town, Tommy Law is having fun from his Cool Juice, Lee Finn is a little more sophisticated and sings Pour Me A Glass Of Wine, Clyde Stacy Honky is dancing on the Honky Tonk Hardwood Floor, Jimmy Patton hollers Yah I’m Movin which is a 100 percent proof ode to boozing and women, and The Premieres instrumental tune is about this juice known as Firewater. Country folk brewed Moonshine, which Whitey Pullen and Cecil Moore sing about with two different songs of the same title. The brew was also known as hooch and Jack Hold is brewing some in his Moonshine Still, meanwhile the law using the Revenuer Man attempt to close down the stills, and the album uses Bill Goodwin‘s version of the song to tell the tale. A visit to Australia allows Slim Dusty to bring the Rock ‘n‘ Roll hangover to closing time with his ode to drinking The Pub Rock. Our historic series Atomicat Records (ACCD145) 90 Years Since Prohibition Ended, The Rockers, Booze Party will be followed up by Koko Mojo Records (KM-CD-180) 90 Years Since Prohibition Ended, The R&B Rockers, Sloppy Drunk. The sleeve notes from the compilation/ re-issue producer and Dee Jay Mark Armstrong will provide information on the supporting band and were known the session information. The album is topped off with the best possible sound quality possible from our mastering team at our El Paso, Texas, Studio. The concept is lavishly decorated by design artist Alf Button’s Revenge, and the sleeve is made from top-quality eco-friendly cardboard specially designed to avoid the use of plastic and be environmentally friendly. Atomicat Records endeavors to use some lesser-known and for some, perhaps more obscure titles and adds something unexpected to every album. 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! Atomicat 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 - Blues Meets Doo-Wop Volume 1 (CD)


    Meeting on a street corner symphony of doo-wop, therefore, is the genre of blues, and The “Mojo” Man tasked with compiling a track list that leans on both genres in equal measures. What is unique about this first volume, and continuing along the same path for the following volumes of this brand-new album series, is that blues and doo-wop are rarely compiled together, let alone seen in the same room together. Yet Blues Meets Doo Wop Volume 1 witnesses their paths crossing, whether knowingly or unwittingly, given that artists of both genres passed along the same corridors of recording studios and record labels, in addition to sharing the same backing musicians when required. With this latest addition of albums, Koko Mojo brings together said genres where blues communicates directly with doo-wop to present this version of historical events. Look no further than an amalgamated collection of the two styles coming together during Hank Ballard and The Midnighters’ ‘I Got A Mind To Leave You’, The Dominoes’ ‘Chicken Blues’, to notorious blues man John Lee Hooker graciously holding the door open for The Andantes to add textures of silk in the backing vocals of ‘Frisco Blues’. Other areas of great quality reveal themselves in The Holidays’ ‘Irene’, The Spaniels and ‘Hey Sister Lizzie’, the Leiber & Stoller penned ‘Riot In Cell Block #9’ performed by The Robins, to the perfect definition of this album series from The Larks with ‘Eyesight To The Blind’. Littered throughout with gifts from the gods, Blues Meets Doo Wop Volume 1 is a unique collection of twenty-eight tracks for your listening pleasure, covering a period of history rarely featured, let alone discussed, where blues and doo-wop shared numerous relationships, and the end results being these enigmatic tracks. Such is their nature, Koko Mojo is once again first to the post by delivering a unique slice of music nostalgia with Blues Meets Doo Wop.

    Nathan Olsen-Haines (Koko Mojo)

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  • Various - Black Pearls – Rhythm & Blues Volume 4 (CD)


    Ei paha. Ei ainuttakaan huonoa biisiä. Kunnon party levy.

    ”Raw Blues – Rhythm Rockin Boogie”

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  • McGhee Stick - The Spo-Dee-O-Dee Man (2CD) (CD)


    Although he was an excellent guitarist, singer and songwriter, GRANVILLE ’STICK(S)’ McGHEE famously suffered from ’rather more famous older brother’ syndrome, being the younger sibling of Brownie McGhee.

    However, Stick wrote and recorded ’Drinkin’ Wine Spo-Dee-O-Dee’, a benchmark embryonic Rock & Roll classic, thus ensuring himself a place at the table in discussions about ’What was the first R&R record?’

    Moreover, between 1946 and 1960, in a sadly truncated career (he died of lung cancer, aged only forty-three) he recorded an impressive body of Blues and R&B for labels like Atlantic, Savoy and King, many of which showcased his trademark biting guitar solos.

    This 2-CD set is the first to gather all known surviving Stick(s) McGhee recordings onto one compilation, starting with several mid-40s sides recorded as a sideman for brother Brownie, and Dan Burley, which are well-nigh impossible to find elsewhere on CD.

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  • Ray James - Got My Mind Set On You 1959-1962 (CD)


    James Ray could and should have been a flagship artist for the newly-emerging soul music, as it transitioned from 50s R&B into a new and exciting sound for the 60s.

    His early singles ’If You Gotta Make A Fool Of Somebody’ and ’Itty Bitty Pieces’ gave him US chart success and a high level of credibility in the UK, where both were covered successfully in the Beat Group era. His original recording of ’I’ve Got My Mind Set On You’ brought one of his biggest fans, ex-Beatle George Harrison, back to the top of the US and US charts in the late 1980s, almost 25 years after George bought James’s lone LP on a personal trip to the US before Beatlemania arrived there.

    Sadly James was not equipped to handle stardom himself, and not able to free himself from the clutches of long term drug abuse. He died of an overdose in 1965, leaving a pitifully small discography behind him and virtually no information about himself, or his life outside the recording studio.

    James made almost all of his recordings between 1959 and the end of 1962, and this new Jasmine collection brings together everything that he cut during that time. All six singles, including the three mentioned above and his exceedingly rare debut 45 as ’Little Jimmy Ray’ are featured here in their original mono, along with his lone album in its rarer stereo format. As you will hear, James could sing all kinds of material beautifully. It’s such a shame that his personal demons prevented him from recording more of it.

    Far and away the most comprehensive collection of James’ recordings that has been assembled in the digital era, it’s something that no connoisseur of 60s black American music should be without. James’s star might not have shone for long, but it shone like a supernova in the few years that he recorded and the proof of his immense talent pours out of every performance in this stellar Jasmine anthology.

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  • Southlanders - Britain’s First Doo-Woppers – The (Almost) Complete Singles 1955-60 (CD)


    Long before there was ska, reggae or any subsequent form of globally accepted music from Jamaica, there was the Southlanders.

    The members of the quartet settled in England during the first wave of mass immigration from the Caribbean, and came together as a singing group in 1952 at the behest of leading calypsonian Edric Connor, initially singing mento and calypso with him before ’going solo’ and making the recordings presented in ’Britain’s First Doo Woppers’ between 1954 and 1960.

    Jasmine has collected all but one of the Southlanders’ non-calypso studio recordings, along with a couple of special surprises, to bring you the first ever compilation by the first ever Jamaican group to be seen on TV or heard on radio on a regular basis.

    Among the highlights here are their Top 20 hit ’Alone’, the ever-popular rock ’n’ roll floor filler ’Penny Loafers And Bobby Socks’, a rare audio aircheck of ’Ko Ko Mo’ from the oldest surviving UK TV clip of rock ’n’ roll and their perennial ’Children’s Favourite’ ’I Am A Mole And I Live In A Hole’.

    Attractively packaged as ever, with plenty of rare photographs and ephemera alongside Jasmine’s customary authorative sleeve note, it’s a package that no serious student of Caribbean music, early Rock ’n’ Roll or harmony vocal groups will wish to be without.

    ’Britain’s First Doo Woppers’ has been a long time coming – but the wait is more than worthwhile!

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  • Various - Spotlight on Leroy Kirkland – Good Gracious (CD)


    Koko Mojo Records (KM-CD-176) Songwriter album Thrill-La-Dill looked at Kirkland’s skill with the pen. The second study of his involvement in the music business is heard on Koko Mojo Records (KM-CD-179) Spotlight on Leroy Kirkland, Good Gracious, and the album looks at his behind-the-scenes work in the 1950s. The album is programmed year by year from years 1954 through to 1958, and the music is predominantly performed by Negro artists, with only three Caucasian artists appearing on the disc. Leroy Kirkland for twenty-seven of the songs led the orchestra and arranged the session, he makes one appearance as a named performer, and one included song is a Kirkland co-write. Where known the session details are within the album sleeve.

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  • Various - Spotlight on Jesse Stone, The Stomp (CD)


    The Spotlight Series explores Jesse Stone’s contribution to Rhythm & Blues and Rock ‘n’ Roll music, and the album furthermore includes performances using his birth name and songwriting identity of Charlie or Charles Calhoun, and due to his creativity, several of the introduced titles were crafted by his pen. The album showcases thirty rhythmic rockers encapsulating the years 1952 through 1962, and numerous songs fall into the “must-have” classification. The album is the sister album to (KM-CD-174) Songwriter Series Jesse Stone, Crazy, Crazy Party. Both albums are musically diverse and in the typical Koko Mojo style, many different versions of his hit tunes are used, for the well-known songs should already be in people’s collections.

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  • Various - Horror Show – A Koko-Mojo Halloween (CD)


    Everything about this record is great, from the first to the last song and a big plus is also the outstanding artwork (by Dayvk Martins) that really hit the spot. The Ernie Freeman Combo with ”Theme From Igor” opens the party, followed by Betty Lavette with ”Witchcraft In the Air.” The Del Vikings are next with”Voodoo Man” and Louis Armstrong doing ”Spooks.” A cavalcade of Halloween gems by The Emersons, The Tip Tops, the Bees, Lightnin’ Hopkins, Bobby Garret, and many more will also scare the hell out of you. The title track ”Horror Show” by Johnny Thunder (the ORIGINAL one, not the 1970s dude from The New York Dolls) is also a very solid number. A few ”funny” ones like The Munmmy” by Bob McFadden And Dor are also included. This CD is so good that you can listen to it all year long because the vast majority of the songs here are pretty darn good and worth a listen even outside the ”Halloween” contest. As the ”Mojo” Man say: All fine frame, no parts lame – DIG IT!

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  • Stone Jesse - Crazy, Crazy Party – Koko Mojo Songwriter Series (CD)


    The Koko Mojo Songwriter Series album Crazy, Crazy Party (KM-CD-174) explores Jesse Stone’s contribution to the world of Rhythm & Blues and Rock ‘n’ Roll music from his writing skills. The album furthermore includes some of his performances using his birth name and his alter ego Charles/Chuck Calhoun, which was also a name he used for writing. The album showcases thirty rhythmic rockers encapsulating the years 1948 through 1962, and numerous songs featured fall into the “must-have” classification. In 1974, the head of Atlantic Records, Ahmet Ertegun, said, ”Jesse Stone did more to develop the basic rock and roll sound than anybody else.” This accolade is a strong statement that Stone’s work for the Atlantic Record Company helped shape Rhythm & Blues music and made the cross-over into the emerging Rock ‘n’ Roll music. Several songs on this album often had his physical presence upon them, and the sleeve notes provide were available the session information and indicate his personal involvement. Jesse Albert Stone was born in Atchison, Kansas on 16 November 1901, he was the grandson of Tennessee slaves. From this background, a man whose identity is on over 1,000 writing and arranging credits had a fantastic impact on music history, and music fans should be indebted to him. Stone made his first recording in 1927, and initially performed in jazz clubs around Kansas City. Stone eventually moved to New York, and from the late 1940s into the early 1950s he recorded and wrote swinging jazz-based jive songs which were moving towards Rhythm & Blues in structure. One prime example of Jesse Stone’s developing style is Get It While You Can which comes from his 1948 RCA Victor session. The second song on the album The Jumpin’ Jack features Lucky Millinder with vocals from John Greer and was recorded in 1951, and musically it is an up-tempo jazz-infused big band sound. After these recordings, you will hear the change from the big band to the new Rhythm & Blues sound within the album. Stone also performed as Charlie or Charles Calhoun; in 1955 for MGM as Charlie, he recorded the stroll tempo Smack Dab In The Middle, as Charles with The Four Students (who became The Cues) in 1956 for Groove he upped the pace, for the jive tempo Jamboree. Using his birth name in 1958 he recorded a double-sided 45 RPM for the Polar label, and one side Tall And Short is included. The legend from Kansas City Big Joe Turner graces the album; with His Blues Kings for Shake, Rattle And Roll, and with His All Stars for Lipstick, Powder And Paint, and solo for Flip, Flop And Fly, although the band members were not an actual group they were studio musicians. Some of the numerous big names in the music world who recorded Stone’s compositions include; The Clovers with the strolling tempo Your Cash Ain’t Nothin’ But Trash, The Drifters featuring Clyde McPhatter serve up a must-have stroller entitled Bip Bam, and a different line-up of Drifters vocalists, they sing the up-tempo I Gotta Get Myself A Woman. In later formation, the group members record as The Flyers the energetic hot jiver On Bended Knee. More dance-floor-filling songs are sourced from; The Du Droppers with the R&B romper Dead Broke, The Cues’ sing their dance-floor hit Why, and Jimmy Witherspoon’s superlative All Right Miss Moore should be in everyone’s collection. The album from these songs alone could be sub-titled “Instant Dee Jay with one Album.” The Eagle-Aires 1954 version of Money Honey combines barber shop, gospel harmonies and doo-wop, the arrangement is different to that of for example Caucasians Ella Mae Morse, or Elvis Presley and is a welcome inclusion in the album. Crooner, Gospel artist and occasional rocker Billy Williams sings Lucy Lou which is different from the mainstream R&B rockers Stone wrote, as it is clearly derived from the nursery rhyme Frere Jacques.

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  • Various - Hallowscream 3 – Planetary Run (CD)


    The album is blasted into orbit with the assistance of Eddie Cletro and His Round Up Boys, who sing about the Flyin’ Saucer Boogie with the delightful lyric ”It’s just imagination, but I saw them just the same.” The album stays in orbit with; Billy Hogan and The Twilighters, Shake It Over Sputnik, Bill Riley, Rockin’ On The Moon, Georgia Jim, Flyin’ Saucer Baby, Buck Trail, Knocked Out Joint On Mars, and The Busters pay tribute to the people or is it monsters piloting the spaceships? with their nifty title Astronauts. Outer space is the great unknown, and musically this is explored with the following songs; Jan Amber sings about The Little Martian, The Jokers enlighten the world about the enchantress known as The Daughter Of The Moon, Bonnie Lou‘s message is in the song not the title, and she is having a date with her baby on Mars during Friction Heat, and Riki and The Rikatones use T.N.T to get them into orbit. The outer space Planetary Run is explained by Joe Montgomery and along the flight, you will encounter, E. ”Tiny” Watkins and his Rockin’ Satellite, Jerry Engler and The Four Ekkos have a brush with Sputnik “the“(Satellite Girl), Lil Randolph (Madame Queen) finds Satellite Love, and the sleeve notes will inform you about her appearance in an all time Hollywood classic movie. Joe Tate and The Hi Five prefer to dance the Satellite Rock, and Ron Halls with Donna Reid and The Pic-Tones are also having fun with a Satellite. People from outer space are sung about by; Bill Carlisle, Tiny Space Man, The Chaperones, The Man From The Moon, The Vigilantes, Man In Space and we feature the Australian version of Rocket And Roll (Space Boy) which is sung by Helen Warren. The legendary Rayburn Anthony laid down numerous songs for Rhythm Bomb Records and two unissued titles are made available for the first time on this album; Rocketship To Mars, and Mr Moon, both of which are recorded in an authentic style with assistance from the Lightning Recordings Boys. However not every space journey goes to plan and long before David Bowie sang about an astronaut stuck in space, Jeff Hughes was singing Our Space Man Did Come Back. The Planetary Run disc is housed in an attractively designed cardboard sleeve, specially designed to avoid the use of plastic and be environmentally friendly. The album‘s stunning design is from artist Henrique San, the sleeve notes from compiled by Dee Jay Mark Armstrong, and the songs are mastered for the best possible sound by our mastering team at our El Paso, Texas, Studio. Atomicat Records endeavors to use some lesser-known and for some, perhaps more obscure titles and adds something unexpected to every album. The album is ideal for Dee Jays to fill the dance floor with, and for home listening or while cruising around and scaring the neighborhood. You are listening to music from the past and preserving the future! Atomicat 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 - Black Pearls – Rhythm & Blues Volume 3 (CD)


    Ei paha. Ei ainuttakaan huonoa biisiä. Kunnon party levy.

    ”Exotic Flavours & Minor Keys”

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  • Various - Black Pearls – Rhythm & Blues Volume 2 (CD)


    Ei paha. Ei ainuttakaan huonoa biisiä. Kunnon party levy. 1960 to 1963

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  • Duprees - You Belong to Me (CD)


    THE DUPREES, five white teenagers of Italian extraction, emerged in New York during the early 1960s DooWop revival and immediately established themselves as the outstanding revivalists of classic oldies, of their generation.

    They registered a US Top 10, million-selling 45rpm the first time out with a powerful update of the much-covered ’You Belong To Me’, originally a 1952 #1 for Jo Stafford.

    It was followed by equally impressive revivals of ’My Own True Love’ (aka ’Tara’s Theme’, from ’Gone With The Wind’), ’Why Don’t You Believe Me’ and a series of similarly-styled releases, thus embarking on a run of success which would ultimately be halted by the English Invasion.

    This compilation comprises their albums ’You Belong To Me’ and ’Have You Heard’, which include all their early singles, plus an ultra-rare 45rpm by The Vocal-Teens, whose lead singer Mike Kelly was an off-and-on member of The Duprees.

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  • Baker Yvonne and The Sensations - Let Me In, Again! 1955-1962 – More Roots of Philadelphia Soul (CD)


    THE SENSATIONS were an R&B/DooWop vocal group from Philadelphia, formerly known as The Cavaliers, made up of three guys and a girl, which was an unusual line-up for the mid-50s.

    Their personnel comprised Yvonne Mills (lead), Tommy Wicks (tenor), Tommy Cooke (baritone) and Alphonso Howell (bass).

    They recorded for Atlantic subsidiary Atco between 1955-58 and made the R&B charts with ’Yes Sir, That’s My Baby’ and ’Please Mr Disc Jockey’, before breaking up.

    In 1961 Mills (now married, and renamed Yvonne Baker) and Howell reformed the group, with new members Richard Curtain (tenor) and Sam Armstrong (Baritone).

    Recording for Chess subsidiary Argo, they charted with ’Music, Music, Music’ and ’That’s My Desire’, and their biggest, crossover Pop/R&B hit, Yvonne’s quirky ’Let Me In’.

    Here, for the first time on one CD, are all The Sensations’ recordings for Atco and Argo, between 1956 and 1962.

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