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Hank Ballard & The Midnighters Nothing But Good (52-62) (5-CD)

Nothing But Good (52-62) (5-CD)
 
 
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catalog number: BCD16795

weight in Kg 2,000

 

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Hank Ballard & The Midnighters: Nothing But Good (52-62) (5-CD)

Video von Hank Ballard & The Midnighters - Nothing But Good (52-62) (5-CD)

5-CD box (LP-size) with 85-page hardcover book, 150 tracks. Playing time approx. 395 mns.

Hank Ballard and The Midnighters were the first professional vocal group young James Brown ever witnessed in person. He vowed one day soon he'd be onstage doing the very same thing. Our retrospective contains everything the Rock 'n' Roll Hall of Famer and his vocal group cut for the Federal and King labels from 1954 to 1962! Five jam-packed discs include unissued gems, alternate takes, unreissued rarities, and a demo version of The Twist as well as the classic hit! It's also featuring all the original hit versions, and comes with comprehensive liner notes from Bill Dahl! 

Long before The Temptations, Four Tops, and Spinners made Detroit ground zero for soulful male vocal groups, the city spawned Hank Ballard & The Midnighters, the Motor City's first nationally successful R&B group. Though Hank Ballard could belt the blues with livewire intensity (and does here), Hank Ballard's group was primarily concerned with rocking the house. They were one of the first vocal groups to record with their own band, initially led by blistering Houston guitarist Cal Green, whose solos are frequently mind-boggling. 

Never has the recorded legacy of the late Rock 'n' Roll Hall of Famer been treated with such loving care and respect, and never have he and his group sounded better!

5-CD box (LP-size) with 85-page hardcover book, 150 tracks. Playing time approx. 395 mns


 

Songs

Hank Ballard & The Midnighters - Nothing But Good (52-62) (5-CD) Medium 1
1: I Feel So Blue
2: Are You Forgetting
3: Get It
4: No, It Ain't
5: That's It
6: Hello Miss Fine
7: Someone Like You
8: I Feel That-A-Way
9: That Woman
10: Work With Me Annie
11: Work With Me Annie (alt)
12: Until I Die
13: Give It Up
14: Work Baby
15: Work Baby (with overdub)
16: Sexy Ways
17: Don't Say Your Last Goodbye
18: Annie Had A Baby
19: She's The One
20: Annie's Aunt Fannie
21: Stingy Little Thing
22: Crazy Loving (Stay With Me)
23: Tell Them
24: Switchie Witchie Titchie
25: Switchie Witchie Titchie (alt)
26: Why Are We Apart
27: Ashamed Of Myself
28: Ring A-Ling A-Ling
29: Whatsonever You Do
30: Don't Ever Change Your Pretty Ways
31: We'll Never Meet Again
32: Looka Here
33: Henry's Got Flat Feet (Can't Dance No More)  
34: It's Love, Baby (24 Hours A Day)  
35: Rock And Roll Wedding  
36: That House On The Hill  
37: Partners For Life  
38: Open Up The Back Door  
39: Sweet Mama, Do Right  
40: Rock, Granny, Roll  
41: Tore Up Over You  
42: Early One Morning  
43: Let Me Hold Your Hand  
44: I'll Be Home Someday  
45: Ooh Bah Baby  
46: Baby Please  
47: Come On And Get It  
48: Ow-Wow-Oo-Wee  
49: E Basta Cosi  
50: In The Doorway Crying  
51: Let 'Em Roll  
52: What Made You Change Your Mind  
53: Let 'Em Roll  
54: Is Your Love For Real  
55: Oh So Happy  
56: Daddy's Little Baby  
57: Stay By My Side  
58: The Twist  
59: I'll Pray For You  
60: The Twist (with sax overdub)  
61: The Twist  
62: Teardrops On Your Letter  
63: I'll Pray For You  
64: Everybody Does Wrong Some Time  
65: Kansas City  
66: Cute Little Ways  
67: So Good To Be Home  
68: House With No Windows  
69: Rain Down Tears  
70: I'll Keep You Happy  
71: She's Got A Whole Lot Of Soul  
72: Sugaree  
73: Sugaree (alt)  
74: Young Lady  
75: Move, Move, Move  
76: I'm Crying Mercy, Mercy  
77: Leave That Fat  
78: I Said I Wouldn't Beg You  
79: Look At Little Sister  
80: I Could Love You  
81: Never Knew  
82: The Coffee Grind  
83: Waiting  
84: Don't Go I Love You  
85: I Love You, I Love You So-o-o  
86: I Must Be Crazy  
87: These Young Girls  
88: Finger Poppin' Time  
89: I'm Thinking Of You  
90: Young Lady  
91: Broadway  
92: Let's Go, Let's Go, Let's Go  
93: I'm Sick Of You  
94: Keep On Dancing  
95: Keep On Churnin' (Till The Butter Come)  
96: Goodbye So Long  
97: When I Need You  
98: If You'd Forgive Me  
99: When I Need You  
100: The Hoochi Coochi Coo  
101: Mona Lisa  
102: The Hoochi Coochi Coo (alt)  
103: Just One More Chance  
104: Summertime  
105: I Like To See My Baby  
106: Let's Go Again (Where We Went Last Night)  
107: You Ain't Nothing But Fine  
108: Where Is The Love  
109: Deep Blue Sea  
110: I'm So Crazy About You  
111: I'm Young  
112: What Is This I See  
113: I'm Gonna Miss You  
114: Daddy Rolling Stone  
115: The Continental Walk  
116: The Switch-A-Roo  
117: The Float  
118: I Belong To You (You're The Keeper Of My Hear  
119: I Got A Mind To Leave You  
120: Big Red Sunset  
121: Big Red Sunset (alt)  
122: Big Red Sunset (alt 2)  
123: Can't You See I Need A Friend  
124: Nothing But Good  
125: Do You Remember  
126: Hello Lover, Goodbye Tears  
127: Miss Twister  
128: Up And Away (alt)  
129: Up And Away (with Woody Woodpecker voice)  
130: Do You Know How To Twist  
131: Do You Know How To Twist (alt)  
132: It's Twistin' Time  
133: Good Twistin' Tonight  
134: Get Ready  
135: I Want To Thank You (From The Bottom Of My He  
136: Your Lovin'  
137: She's The One  
138: Dream World  
139: Excuse Me (I Think I've Got A Heartache)  
140: Autumn Breeze  
141: What's Your Name  
142: I'm Learning  
143: After School  
144: Shaky Mae  
145: Christmas Time For Everybody But Me  
146: I Love And Care For You  
147: Santa Claus Is Coming  
148: Santa Claus Is Coming (alt)  
149: Love, Oh Love (Where Can You Be)  
150: Bring Me Your Love  

 

Artikeleigenschaften von Hank Ballard & The Midnighters: Nothing But Good (52-62) (5-CD)

  • Interpret: Hank Ballard & The Midnighters

  • Albumtitel: Nothing But Good (52-62) (5-CD)

  • Format Box set
  • Genre R&B, Soul

  • Music Genre Rhythm & Blues
  • Music Style Rhythm & Blues
  • Music Sub-Genre 251 Rhythm & Blues
  • Edition 2 Deluxe Edition
  • Title Nothing But Good (52-62) 5-CD-Box & 84-Page Book
  • Release date 2008
  • Label BEAR FAMILY RECORDS

  • Price code EK
  • SubGenre R&B Music - Classic R&B

  • EAN: 4000127167958

  • weight in Kg 2.000
 
 

Artist description "Ballard, Hank & The Midnighters"

Hank Ballard & The Midnighters

Long before Motown officially put Detroit on the international musical map and humble little recording studios started popping up all over town in the mammoth wake of Hitsville U.S.A.'s unprecedented success, the Motor City could already lay claim to more than its share of street corner vocal groups, even if there weren't many local record labels to transfer their sweet harmonies onto wax during the 1950s. The modest imprints that did exist were mom-and-pop operations like Fortune Records, which released seminal mid-'50s vocal group sides by The Diablos, most notably their ethereal ballad The Wind.

Nolan Strong, the lead tenor of The Diablos, was one of Smokey Robinson's principal influences. Other local singers opted to idolize the modern jazz-inflected harmonies of The Four Tops, who were a force around town for nearly a decade before Motown managed to pin them down to a longterm contract. But for more than a few up-and-coming young aggregations, it didn't get any better than Hank Ballard and The Midnighters. They were the first Detroit R&B group to transcend their local standing to really make it big on a national basis, and Ballard was their chief source of material as well, composing nearly all of his group's hits and a great many more classics that didn't dent the charts.

"The Midnighters were The Temptations before The Temptations in Detroit," exclaims Joe Harris, a member of The Peps during the '60s and eventually handpicked by Motown producer Norman Whitfield to be lead singer of The Undisputed Truth. "I was really deciding that this was what I wanted to do when I was hanging around those guys, 'cause they always seemed like they were having a lot of fun."

Their impact wasn't limited to the Motor City. The Midnighters were the first professional vocal group young James Brown ever witnessed in person. He and Bobby Byrd were dazzled by their crowd-pleasing antics at the Greenville Textile Hall in Greenville, South Carolina, and they vowed one day soon they'd be onstage doing the very same thing.

Recording initially for the Federal subsidiary of Cincinnati-based King Records and later the parent imprint itself, The Midnighters were hitmakers from 1954 on, when their salacious Work With Me Annie crashed the peak of the R&B hit parade and was one of the most important rhythm and blues waxings of the year. Its inherent raunchiness precipitated corporate hand-wringing from coast to coast as uptight radio programmers banned the leering anthem from their lily-white airwaves. But that didn't deter teenagers of every hue from buying the platter, even if they had to hide it from their disapproving parents.

Ballard's piercing, slightly pinched lead tenor was quite invigorating and immediately identifiable. And not only were Hank and his Midnighters devastating on wax, concentrating primarily on blistering rockers and only occasionally slowing down for a blues-permeated ballad, they were relentless high-energy showmen, engaging in rowdy onstage routines that were as influential to their acolytes as their recordings. When it came to their raucous choreography, Hank readily deferred to his high-stepping mid-'50s group mates, tenor Henry Booth (a master at doing the splits who had started out with another Detroit group, The Serenaders), tenor/baritone Lawson Smith, and bass singer Ardra 'Sonny' Woods.

"We created dances on the stage for the songs. If it looked good and everybody liked it, and the three of us liked it, we'd keep it in. Because Hank didn't dance," says Norman Thrasher, who replaced Woods in 1957. "We all did the splits. We created the dances on how we would feel, 'cause each one of us would take an individual part on the stage doing 'The Twist' or doing 'Finger Poppin' Time' or doing 'Let's Go.' Then we had those comical outfits up under our clothes. I would have them big drawers on, them big bloomers on. And I'd jump off the stage, dance up the aisles, and pull 'em off and hit folks in the head with 'em!" Although King Records inevitably placed a solo photo of Hank on their album covers, this was a full-fledged vocal group whose shenanigans deeply impacted the next generation of Motor City vocal aggregations.

"We always had patterned our group after The Midnighters," says Joe Billingslea of The Contours, who gave Motown one of its first R&B chart-toppers in 1962 with their gritty Do You Love Me. The Contours' amazing acrobatics followed in the athletic footsteps of The Midnighters, and their first audition for Berry Gordy reflected the impact of their heroes on their repertoire. "We did 'Whole Lotta Woman,' 'Come On And Be Mine,' and another song, probably one of Hank Ballard and The Midnighters' songs, because we were definitely Midnighters fans," says Billingslea. "We patterned our routines after The Midnighters."

"We had been on a show with those guys," says The Contours' Billy Hoggs. "They helped us out a few times when we did a show with them. We went backstage and talked to 'em, and asked them what did they think they could criticize us on that we need to improve. And they told us a few pointers. Anytime we were on a show with someone more adept, or more experienced in the field, we'd ask them suggestions. And then we would incorporate it."

Ballard wasn't even part of the group when they began recording, and they didn't start out as The Midnighters. Their genesis goes back to 1950, when original lead tenor Charles Sutton joined forces with three more denizens of Detroit's East Side--Booth, Woods, and baritone Freddie Pride (a close friend of Jackie Wilson's, who was part of their musical social circle along with future Four Tops lead Levi Stubbs)--to form The Royals. An early promotional blurb from King Records claimed they'd originally been known as The Four Falcons. Entranced by the beautiful harmonies of out-of-town hitmakers such as The Orioles, Five Keys, and Dominoes, they fashioned a repertoire heavy on ballads. Also part of their fledgling group was the more experienced Alonzo Tucker (probably born November 21, 1915), who would serve as one of their primary songwriters and arrangers and knew his way around a guitar. When Pride was drafted into the military, Lawson Smith took his place.

Hank Ballard & The Midnighters
Nothing But Good (52-62) (5-CD)

https://www.bear-family.com/ballard-hank-und-the-midnighters-nothing-but-good-52-62-5-cd.html

 

 
Presseartikel über Hank Ballard & The Midnighters - Nothing But Good (52-62) (5-CD)
Customer evaluation "Nothing But Good (52-62) (5-CD)"
Average customer evaluation
Star Rating
(from 1 customer evaluations)
 
 
From: Mo Lotow 2017-09-05 15:22:06

Top!

A fantastic retrospective about one of the most underrated Rhythm & Blues singers! Here is the final proof that Hank Ballard was much more than 'Finger Poppin' Time' and 'The Twist' which are in my opinion the weakest songs he ever did! Check out his 1950s stuff and his later 'King' recordings and forget this crappy 'Dance Craze' stuff!
https://www.youtube.com/watch?v=nfn8FQLNw4Y

 
 
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