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Jackson Chuck - On Tour (1964)/Dedicated To The King (1967) (CD)€18,00
Album Description: Two of Chuck Jackson’s rarer albums: live sessions culled from his time on the road plus his own Elvis tribute album. Gutsy and highly-emotive stuff from a singer who had/has a magnetic onstage presence. His Elvis tribute contains unique performances that are ranked as the most sincere of this well known repertoire. Completes the set of two-on-ones from Wand. The lavish booklet features fascinating and informative notes by Bill Dahl, based on a personal interview with Chuck himself.
Various - Stax Revue – Live At The Ballroom 7 & 8th Aug. 1965 (CD)€15,00
”Let me tell you a story. It was August 1965 and the, then fledgling, Stax Records was finally turning into a professional record company, with the hiring of Al Bell as a promotions man. Up until then the promotional side of the business had been handled by their distributor, Atlantic. To develop more of a profile on the West Coast a show was arranged at the 54 (pronounced five four) Ballroom, the legendary dance hall in the Watts area of L.A. which had hosted every major blues, R&B and soul act since the fifties. The D.J. for the night and part organiser, was the Magnificent Montague, whose catch phrase at the time was ”burn, baby, burn”. Throughout the show Montague stalked the stage exhorting, first Booker T & The Mgs, then The Mad Lads, The Astors, Carla Thomas, William Bell, The Mar-Keys, and finally Rufus Thomas to ”burn, baby, burn”. The set was hot, as you might imagine with the MGs cooking on a seriously re-fried ”Green Onions” and a wicked version of ”Bootleg”, The Mad Lads and The Astors performing their hits ”Don’t Have To Shop Around” and ”Candy”, William Bell getting seriously sanctified on ”You Don’t Miss Your Water” and Rufus doing and walking the dog along with the audience in his own inimitable fashion. All the while Montague is yelling ”burn, baby, burn”. A week later the Watts riots broke and they did…..”burn, baby, burn”. Stax felt at the time that it was inappropriate to go ahead with the projected release of a live album from the shows. So here you have it 27 years later, the legendary Stax Revue Live At The 54 Ball-room; what can I say but……… ”BURN BABY, BURN!!!!!””
Various - 6T’S: RHYTHM ’N’ SOUL SOCIETY – In The Beginning (CD)€18,00
”by ADY CROASDELL
Nostalgia can hurt.
I’ve just been watching ”A Hard Day’s Night” with my 16 year old daughter for the first time since I saw it at Derby Gaumont in 1964. It’s brought back the thrills and possibilities of life that it revealed to me as an eleven year old boy; but it’s also left a dull pain in my soul. Whether it’s regret at being unable to relive those vital times, or the mistakes and missed chances that have passed since then, I can’t tell; but it’s a bittersweet sensation.
This then is an appropriate time to review the 6T’S CD and re-live the first years of my and Randy Cozens’ soul club: the ”Hard Day’s Night” of my life.
For once it’s the club and the people in it that take the spotlight in the sleeve notes. My apologies to Chuck, Maxine and Brother James, but I’m sure they’ll understand. It’s the story of how classic, vintage, soul music really took off in London and how a generation of Northern Soul fans rediscovered their roots and broadened their appreciation of black American music.
In the late 70s Northern Soul was overly concerned with stompers and rarity and had neglected its soul and mod beginnings. A tough London roofer, who had been an original mod, and a long-haired college kid from Market Harborough, in the Midlands, was the unlikely combination of personalities that really got the scene moving. Prior to that there had been sporadic dances for the 50 or so southern stalwart, soul record collectors but Randy and I, with the 6T’S, proved to be the right geezers at the right time with the best music.
The first night was in Covent Garden on 17 August 1979 and the joyous, sweaty and soul-sated sell-out crowd told us that Rhythm & Soul was the way to go. The music was a mixture of mod classics, early Motown, jazz instrumental grooves and some tough, danceable R&B. Virtually all of it was on 45, was black American and heralded from 1963-1966. The DJs all had great collections, really knew their stuff and were as enthusiastic as the dancers who they would join when their sets were over.
However the club was soon forced to move on to West Hampstead where it stayed for just over a year, and then wandered around the West End for occasional dances, before settling on the 100 Club in Oxford Street, where it remains even now. That’s 25 years since its inception, making it the longest running club night anywhere, ever.
Many of the attendees were mod revivalists, which gave the 6T’S crowd the youngest average age on the soul scene; another proud boast we’ve maintained to this day. Theyhad become interested in the music through groups like the Jam, Chords, Secret Affair and Purple Hearts and at first picked up on those groups’ antecedents, the Who, Small Faces and Action. By 1979 they were eager and ready to learn more of the original music that inspired the first mods. Similarly for Northerners like myself, who had gone from Motown, Stax/Atlantic and Geno Washington straight into JJ Barnes, Major Lance and the Sequins, having Randy there as a font of knowledge and inspiration on how things had really been back in 1964 was a godsend.
So artists like Bobby Bland, Arthur Alexander, Carolyn Crawford and Irma Thomas were re-appraised and their wonderful recorded gems were revealed to us. Hitherto unknown hip jazz instrumentals by Mongo Santamaria, Jimmy McGriff and Hank Jacobs were incorporated into the mix and some mean blues from Hank Ballard, Lowell Fulson and Little Walter helped put the Rhythm into the club name. There was even the odd foray into the 50s for party time, mid tempo, black rockers from Huey Smith, Nina Simone and Etta James. Ever concerned at moving things forward and creating our own sounds, Randy programmed Theola Kilgore’s take on Chain Gang, Tutti Hill’s fabulous floater He’s A Lover and the quirky Pearl and Dean sounding jazz/soul/MOR of Bert Keyes’ Do-Do Do Bah-Ah! Well it was one big party and a large degree of fun was compulsory.
The booklet tells the”
Various - The Mirwood Soul Story (CD)€18,00
”- This is Kent’s first compilation taken from the legendary LA Northern Soul label and will have the superior sound and packaging we are famous for.
– Includes a recently discovered Bobby Garrett vocal version of the Olympics’ ’Exclusively Mine’. Unearthed from the freshly acquired master tapes and with a different set of lyrics too; amazing!
– There are several other tracks that weren’t on the shoddy previous Mirwood release (not on Kent and now deleted) and unusually they are some of the more obvious box office numbers: Jackie Lee ’Oh My Darlin”, Curtis Lee ’Is She In Your Town’.
– Many tracks are from master tape for the first time on CD and the booklet contains a great deal of new information and an in-depth history of the label.
– Bobby Garrett’s ’I Can’t Get Away’, as featured in a recent KFC TV advertisement, appears on a Kent CD for the first time.
– The Olympics’ track ’I’ll Do A Little Bit More’ was sampled by Fat Boy Slim on ’Soul Surfin’ from the album ”You’ve Come A Long Way Baby”.
Moore Bobby & the Rhythm Aces - Go Ahead And Burn (CD)€15,00
Shout Records presents Bobby Moore & the Rhythm Aces, a combo who, in the golden age of Soul, in the summer of 1966, took their down-home Soul from the chittlin’ circuit of the Deep South into the US top 30 with hit ballad Searching For My Love”.
This landmark CD presents the ”Searching For My Love” LP together with all of the group’s singles for Checker, and some hard-to-find tracks from the vaults, as well as an accompanying essay by Clive Richardson.
Bobby Moore has a long musical pedigree, and the Checker LP carries the ’hallmark’ of the legendary Muscle Shoals Studio, having been produced by studio chief Rick Hall (later of his own FAME studios and label). Testimony indeed to the enduring quality of Southern Soul.”
Various - The Soul Of Sue-The UK SUE Label Story Vol 3 (CD)€18,00
”by DEAN RUDLAND
What days and nights
Though’ rocking out of Ham Yard
Oh skip that fandango,
Bring the blues back down hard
Though Chuck would never admit it
At the door of the jail
There stood Guy Stevens
And he was waiving the bail
(The Clash: Midnight To Stevens)
It’s the least he deserved, to be immortalised in song. The man who offered so much to the UK music industry, and more importantly the UK music fan, was given this treatment by Mick Jones and Joe Strummer in 1981, the year of Guy Stevens’ death, in a song that showed tender regard for his maverick genius, whose unique production skills had brought out the best of them on the album ”London’s Calling”.
2004 is the year in which Guy will at last be recognised rather than forgotten, and in this respect it is apt that our final volume of the UK Sue Records label story THE SOUL OF SUE should appear in the same month that the 25th Anniversary of ”London Calling” – Stevens’ most notable mainstream success – is being celebrated. Yet, while rock fans will fawn over that fine album, we would argue that Guy Stevens made his greatest contribution to music a decade or so earlier that, at the helm of the first modern soul label in the UK, Island’s Sue Records subsidiary.
In the first two volumes – released on our Ace label earlier in the year – we saw how Stevens’ expertise in rock’n’roll, and rhythm and blues had led him to an influential dejaying slot at the Scene club in Ham Yard; and working for various record companies, advising them what to do with the US records from labels such as Chess and Excello. We then learnt how Island’s Chris Blackwell employed him to run the UK Sue label had been set up to release Charlie and Inez Foxx’s Mockingbird. Guy used his knowledge to turn the label into a haven for all sorts of records released from his myriad of contacts at labels across the US. In the process he would have the first club-based record label, responding to what was popular there, and specifically working scams to draw club success in. In this respect he was both setting the mark for all future labels in this field, and also became in his own right a precursor of the celebrity club DJ. On top of this his records provided the source material for many of London’s R&B groups, and he suggested tunes theyshould cover.
Our first two volumes consist of a Sue’s Greatest Hits story, and a look at the wealth of blues and rock’n’roll that was introduced to the UK’s music fan by the label. Volume 3 concentrates on Sue’s amazing soul records. In the mid-60s soul was the new sound of black America, a cutting edge sort of thing, and while labels such as London and Stateside also released soul records, Guy’s knowledge was deep enough to bring out some fantastic recordings, both on 45 and across an incredible range of LPs such as ”Soul 66”, and ”Dr Soul” that are now very difficult to find.
On this CD we go from the well known: records that were in effect broken by Sue’s persistence such as Hurt By Love, Night Train and Harlem Shuffle, through to all shades of soul. To me seeing a mix that goes from OV Wright on past Jackie Day, taking in the Lamp Sisters, Bobby Bland and the Kelly Brothers shows some serious dedication to the music. And while we’re about it, who can resist some screaming monsters as the Anglos (definitively not Steve Winwood, whatever anyone tells you), or the sheer beauty of Baby Washington’s I Can’t Wait Until I See My Baby’s Face. Not me for one.
So if you need further proof of what a wonder Sue Records is, or if you just feel it’s right to complete the trilogy this is the one for you.
When Guy was producing the Clash on ”London’s Calling”, I was next door in Studio 2 at Wessex finishing off the Damned’s ”Machine Gun Etiquette” album. Guy was forever in-and-out of our studio having a whinge. Around this time we put out the HueyPiano Smith LP on Ace and on the back dedicated it to Guy. He had notoriously issued a Huey Piano<"
Various - A Galaxy Of Soul-Moaning, Groaning, Crying (CD)€18,00
– Fantasy Records’ Galaxy subsidiary had one of the best West Coast R&B catalogues of the mid-1960s, and Moaning Groaning Crying – A Galaxy Of Soulful R&B celebrates it with a killer selection of grooves drawn from the label’s vaults.
– While there are some acknowledged classics on display – including the label’s perennial hit, Rodger Collins’ ’She’s Looking Good’, here presented for the first time from the original session tape – the vast majority of tracks are being reissued for the first time.
– Galaxy’s trademark was having blues and R&B acts update their sound to the sock-it-to-me one-two punch of mid-1960s dancefloor soul. Hence the fabulous sides from the likes of Collins, Charles Brown, Gale Anderson, and Sonny Rhodes. There’s James Brown-style pleading from Little Ronnie and the insistent groove of the self-contained Right Kind. Future funk notables Lenny Williams and Harold Andrews show up with some of their earliest releases.
– Moaning, Groaning, Crying also features rare titles from another Fantasy R&B subsidiary, Early Bird, including Pat Hunt, Buddy Conner and the stupendous Casanova II, plus a selection of titles from the Soul Clock and MIOB (Music Is Our Business) labels. It also includes in-demand items by the Fuller Brothers and Claude Huey.
– The package comes with top-notch sound, the result of many hours spent in tape research, plus copious notes that detail this fascinating period in West Coast soul history.
Various - Renfro Soul Story (CD)€18,00
– Renfro is one of the most collectable Northern Soul labels with its uptown soul sound from the heart of Los Angeles.
– Anthony Renfro ran the label from 1964 until 1974, with respected LA producer Arthur Wright producing most of the releases.
– The compilation includes Northern monsters from Morris Chestnut, the Sequins, Carl Henderson and the Attractions. Plus classy collectors items from Helen Moore, Sam Cox and Little Tony.
– It includes Northern ultra-rarities from Bobby Wisdom, the Young Brothers and the Stunners, plus early 70s dancers from Luke Day, Viola Edwards and Tender Loving Care
– The intriguing sleevenotes, written by compiler Ady Croasdell, shed light on Renfro’s naïve approach to the indie record business.
Adams Johnny - Released-A Memorial Album (CD)€15,00
””Noted Singer Johnny Adams Passes Away” was the headline of a press release from the Louisiana Music Archive which told us that Johnny had died on the morning of Monday September 14th, 1998. in Our Lady of the Lake Hospital, Baton Rouge, Louisiana, having fought a ”losing battle” with cancer. He was 66 years old, and his death deprived the world of arguably one of the best musical voices of our time, sadly under-recognised until the eclectic might of Scott Billington”s productions for Rounder Records took his talents to a wider market during the last decade of his life. Johnny is survived by his wife, Judy.
In the overall scheme of things soulful, the quality and versatility of Johnny”s voice should have pitched him right in there with Sam Cooke, Ben E King, Jerry Butler and Jackie Wilson in the top rank of best-selling R&B singers who went on to achieve major pop success, but the musical enigma that is New Orleans, while blessed with great depths of aesthetic and metaphysical assets, perhaps proved to be the factor which restrained such a breakthrough; for all the abundance of talent and recording activity in the Crescent City since the 1950s, it is surely ironic that only Fats Domino, Irma Thomas and Lee Dorsey managed to achieve significant lasting success, with the added irony that this came from links which took their recording career base away from New Orleans (Fats and Irma with Imperial in Hollywood, Lee with Bell in New York). Johnny did join Atlantic, as you will read later, but their ”golden soul” bubble was deflating at the time and the union was not fruitful, and thus the dependence of the hometown boy on local resources was to prove a hindrance to his progress.”
Tandy Sharon - You Gotta Believe It`s (CD)€18,00
Blue-eyed soul, freakbeat and state-of-the-art girl pop, Sharon was one of the best voices of the time. This first-ever career retrospective features virtually all of her 1960s singles and several cuts from Sharon’s legendary 1966 session at Stax in Memphis.