Billy Walker, born on 14 January 1929, managed to build a musical career that would span no less than 6 decades. As a teenager he already belonged to the legendary Big D. Jamboree in Dallas. He got his first record deal with Capitol Records in 1949. Two years later, however, he left the label because he was accommodated at Columbia. From 1952 he was part of the Louisiana Hayride and even later he was especially appreciated for his performances in the Grand Ole Opry. On this album, which is part of the series 'Gonna Shake This Shack Tonight', Bear Family focuses on the first years of Walker's career, from 1949 to 1962. It soon turns out that Billy was enormously versatile. The 30 songs bundled here include catchy Texas honky tonk, handsome shuffles, rockabilly, compelling country and ennobled upbeat pop. Also impressive is Walker's version of the Roy Baham composition 'Charlie's Shoes'. By the way, it was the only song with which Billy Walker took first place in the Country Charts in 1962.
In her short life, she was born on 29 August 1924 and already died on 14 December 1963, Dinah Washington became 'The Queen' as she was often called. In the late forties and early fifties she was one of many jazz-inspired rhythm & blues singers, then she later turned out to be a top singer. With her powerful and flexible voice she sang jazz standards and pop songs with sublime arrangements into eternity. Her 'A Rockin' Good Way' in the 'Juke Box Pearls' series is a hit. All her great successes are on this. From the start she has been a hit with the title track, which she canned together with Brook Benton. Also 'Baby, You've Got What It Takes' that the duo recorded, is on this album. By the way, 'A Rockin' Good Way' was covered in the 60's by Shakin' Stevens together with Bonnie Tyler. Also 'Mad About The Boy' that was used in a TV commercial for Levi's jeans can be found on this collector, as well as all the great successes of this monumental artist. What A Diff'rence A Day Makes', 'September In The Rain', 'Smoke Gets In Your Eyes', 'Such A Night' and 'Unforgettable' are all part of this album. You will also find some extremely rare and hard to find recordings of Dinah. This certainly applies to her Mercury single 'Honky Tonky' from 1959, which she recorded as The Queen.
In ihrem kurzen Leben, sie wurde am 29. August 1924 geboren und starb bereits am 14. Dezember 1963, wurde Dinah Washington "The Queen", wie sie oft genannt wurde. In den späten vierziger und frühen fünfziger Jahren war sie eine von vielen jazz-inspirierten Rhythm & Blues-Sängerinnen, später entpuppte sie sich dann als Top-Sängerin. Mit ihrer kraftvollen und flexiblen Stimme sang sie Jazz-Standards und Popsongs mit sublimen Arrangements bis in die Ewigkeit. Ihr 'A Rockin' Good Way' in der Serie 'Juke Box Pearls' ist ein Hit. Alle ihre großen Erfolge sind darauf zurückzuführen. Von Anfang an war sie ein Hit mit dem Titeltrack, den sie zusammen mit Brook Benton einfing. Auch "Baby, You've Got What It Takes", das das Duo aufgenommen hat, ist auf diesem Album zu hören. Übrigens wurde 'A Rockin' Good Way' in den 60er Jahren von Shakin' Stevens zusammen mit Bonnie Tyler behandelt. Auch 'Mad About The Boy', das in einem TV-Spot für Levi's Jeans verwendet wurde, ist auf diesem Sammler zu finden, ebenso wie alle großen Erfolge dieses monumentalen Künstlers. What A Diff'rence A Day Makes", "September In The Rain", "Smoke Gets In Your Eyes", "Such A Night" und "Unforgettable" sind alle Teil dieses Albums. Sie werden auch einige äußerst seltene und schwer zu findende Aufnahmen von Dinah finden. Dies gilt sicherlich für ihre Mercury-Single "Honky Tonky" von 1959, die sie als "The Queen" aufnahm.
Covid-19 is spreading wildly around the world and is causing a pandemic with a huge number of victims. Staying in Our Room' was the message, something we could hardly imagine a while back. Fortunately, we have often experienced that music has a healing effect. Even in the past, illnesses have made masses of victims, just think of tuberculosis, cholera, the Spanish or Asian flu. In those days too, artists were inspired by this and composed songs that had a therapeutic effect, as it were, to ward off the crises. That's what brought the brilliant Bear Family label to the idea to bring this 'Destination Health, Doc Feelgood's Rock Therapy' on the market. Next to the vitamin boost this album undoubtedly gives you, we also make a musical trip.
This compilation contains next to 'good old rock 'n' roll' by top artists like Johnny Burnette & The Rock 'n' Roll Trio's 'Rock Therapy' or Carl Perkins' 'Boppin' The Blues', also a number of formidable blues and rhythm & blues tracks by a.o. Floyd Dixon, Little Willie Littlefield and Doctor Ross, here with the legendary 'The Boogie Disease'. It's also interesting that there's a lot to discover here. Lesser-known artists like Dennis Bell with the cheerful 'Quarantine', or Joey Nepote begging for a 'Doctor, Doctor, Doctor' while rocking. Beautiful and compelling is the instrumental 'Medic', the theme of the T.V. series of the same name, by Les Baxter & his Orchestra. Another nice instrumental language is certainly the mambo-tinted 'Vitamina' by Noro Morales.
And as it has become a tradition with Bear Family, this album contains another 28 colour illustrated booklet, compiled by Bill Dahl, with not only a lot of information about the artists and the songs, but also beautiful retro looking drawings.
30 Bop Pills For Your Recovery' is the subtitle of this album and confirms once again that 'Destination Health, Doc Feelgood's Rock Therapy' is the ideal medicine to help you through the coronacrisis. Highly recommended!
The post-rocker I am still has mixed feelings about (Big) Joe Turner on Atlantic Records. He's often identified as the archetype of the 'shouter' and a transition artist between rhythm and blues and rock 'n' roll ('Shake, Rattle And Roll', 'TV Mama' and other 'Flip Flop And Fly's'). This beautiful re-release rattle and roll/TV mama and other Flip, flop and fly), this beautiful re-release of New York sessions from 1956 (two versions: stereo and mono + an unpublished one) pretends him as he is: a beautiful Kansas City jazz-swinging stylist - the title is explicit - surrounded by musicians from Count Basie and Duke Ellington, loved by the Ertegun family. Pete Johnson masterfully plays the boogie blues piano. An accompanying guitar, the lecterns, the brass section in white tuxedos that one can easily imagine leaning against the stage, the white dancers and the champagne...
It's quite remarkable that the first blues recordings from Baton Rouge, a renowned city and not so far from New Orleans, date back to 1954, when song smith and label owner of Feature Records first recorded J.D. `Jay' Miller as Lightnin' Slim. This double focuses on blues and root music from then until 1971, when these styles fused with more contemporary ones.
"Approximately in chronological order" is a first indication of the messy composition. Moreover, you'll be misled by the photo of the cover of the acclaimed Excello collector Swamp Blues', with which this double CD barely over-laps a song. The fact that Slim Harpo is the performer of nine of the 57 songs and is almost a `best or on its own with a.o. 'I'm A King Bee' and 'Baby, Scratch My Back' doesn't help either. There was also room for magic versions of 'Boogie Chillun' (The Nitehawks) and 'I'm Evil' (Lightnin' Slim) which never look like the original.
At the same time, the although numerous biographical information is only marginally released through the different trackcom-mentars. These are just a few formalities that make these discs more suitable for those who want to discover the blues of Baton Rouge or don't take the time to make a compilation themselves. It's a shame because of the treasure trove of gems in it. The acoustic version of 'Smokestack Lightning' by Clarence Edwards is delightful, Moses Smith (aka Whispering Smith) knows how to captivate solo on harmonica in 'Baton Rouge Breakdown', Robert Pete Williams moves in his ode `Goodbye Slim Harpo' and in `Who Broke The Lock' we hear a rare time Butch Cage on fiddle. Names like Lonesome Sundown, Raful Neal (Kenny's father), Henry Gray, Silas Hogan or Sally Dotson (lonesome girl power) & Smoky Babe may not be forgotten, but it's all served up more attractively. Olivier Verhelst
Destination Lust: Songs Of Love, Sex And Violence
Review by Gary Hill
This is an interesting collection. The tie that binds all of this together is the undercurrent of sex that was sort of hidden with a wink in the post World War II, pre-sexual revolution days. This set features a booklet that is really "adults only" and plenty of music that also is. I think that main strength here is from a historical perspective. That said, there are quite a few songs on the set that I really like, while there are others that don't stand up as well to the test of time.
This review is available in book format in Music Street Journal: 2020 Volume 3 at
Track by Track Review
Jayne Mansfield - That Makes It
A ringing phone with Mansfield answering it starts this cut. The tune is a bouncy, over the top kind of number. The horns bring some jazz to the table. This is fun. The lyrics are pretty risqué for the time.
The Playboys - Charge It
The sexual tension as the "hi"s are exchanged at the start of this is thick. The cut has a cool jazzy groove to it. There aren't really lyrics, as such, but just a few moments of spoken question and answer. The horns really sing it like crazy on this number.
Big Joe Turner The Complete Bass Of The Blues ***** Das 1956er-Album des Blues-Shouters, erweitert
Es waren die famosen Boswell Sis-ters, die 1934 zum Soundtrack der frivolen Komödie „Transatlantic Merry-Go-Round" den Song „Rock And Roll" beisteuerten. Die Gelehr-ten werden sich dennoch immer dar-über streiten, ob „Good Rocking To-night" von Wynonie Harris, Goree Carters „Rock Awhile" oder „Ro-cket 88" von Ike Turner den Urknall für allen Rock'n'Roll auslöste. Gesi-chert ist in jedem Fall, dass Jazz- und Blues-Veteran Joseph Vernon „Big Joe" Turner Jr. mit dem von Jesse Stone komponierten „Shake, Rattle And Roll" einen so nie erwarteten Erfolg hatte.
An den knüpften Bill Haley und Elvis Presley mit eigenen Aufnahmen des Songs umgehend an. Songwriter-Legende Doc Pomus spä-ter über diese Phase im Schaffen des Sängers: „Rock and roll would have never happened without him." Aber der Jahre zuvor von Ahmet Ertegun entdeckte und unter Vertrag genommene Blues-Shouter mit der mächtigen Stimme blieb auch da-nach seiner ersten Liebe treu. Seit 1951 Stammgast in den Top Ten der Rhythm-&-Blues-Hitparade, sah er keinen Grund, seine Fan-Gemeinde zu verprellen. Als er sich 1956 mit Jerry Wexler, Nesuhi Ertegun und Musikern von Count Basies Orchester an die Aufnahmen zu seiner neuen LP machte, war das auch eine „senti-mental journey" zurück zu seinen musikalischen Anfängen, waren Songs wie „Roll 'Em Pete" und „How Long Blues" lange in seinem Reper-toire, der „St. Louis Blues" in der DNA des Musikers aus Kansas City.
Der von Basie ausgeliehene Arrangeur war verantwortlich dafür, dass die für die Sessions verpflichteten Jazzmusiker sich auch mit Soli profi-lieren durften - und das auch bei Popsongs der frühen 30er Jahre wie „You're Driving Me Crazy", „I Want A Little Girl" und „Pennies From Hea-ven". Die damals eingespielte Cover-version des Bing-Crosby-Hits (ur-sprünglich nicht auf dem Album) findet man hier neben diversen an-deren Outtakes, die Aufnahmen im Ping-Pong-Stereo- und auch im Mono-Mix exzellent überspielt. (Bear Family)
The Elvis Presley Connection: 33 Roots and Covers of Elvis Presley, 2019, Various Artists, CD, Bear Family BCD 17561 The Bill Haley Connection: 29 Roots and Covers of Bill Haley and His Comets, 2018, Various Artists, CD, Bear Family BCD 17531
Jack Lemmon and Walter Matthau were a perfectly imperfect pair. They portrayed The Odd Couple in the 1968 motion picture version of Neil Simon's hit Broadway play. To many fans of rock and roll music, Elvis Presley and Bill Haley seem as mismatched as Lemmon and Matthau. In what ways were they opposites? Although Elvis was supported on stage and in the recording studio by guitarist Scotty Moore, bassist Bill Black, and drummer D. J. Fontana, he was always a singular performing sensation.
Bill's chart-topping career ended abruptly in 1960, although re-issues of "Rock Around the Clock" resurfaced among the Billboard ranks in 1968 and again in 1974. Elvis launched a successful television comeback in 1968, became a legendary concert performer and Las Vegas attraction, and continued to chart hits until his death. As recently as December 2018 his 1957 version of "Blue Christmas" attained the #40 position on the Billboard charts. Elvis lives on today through his music. Haley, not so much. Despite significant differences in hit production, regional upbringing, vocal styles, fan reception, military involvement, and feature film success, Elvis Presley and Bill Haley shared several similarities. First, they both adored country music. They particularly appreciated the recordings of Bob Wills, Bill Monroe, Eddy Arnold, Hank Snow, Red Foley, and Hank Williams. Second, Elvis and Bill freely adopted
This massive picture book of German shel-lac records is hardly susceptible to a conven-tional review. Quite apart from the impossibil-ity of reading every page on a reasonable time scale, who other than the authors themselves is qualified to judge the contents? Band 1 starts with a brief history of the German record in-dustry up to the mid-fifties, followed by a tech-nical section defining terms and including an il-lustrated section on `Lisenzmarken' (copyright stamps). This section also includes some pic-tures of `Sprechpuppe' (talking dolls). The text proper begins on page 31 with 59 pages de-voted to anonymous discs, fifteen of which are indeed devoted to discs for Sprechpuppen. The format of the main text is label photo-graphs accompanied by a tabulation of Series-Owner-Manufacturer-Distribution-Repertoire-Dates of Issue, and a description of the label. Longer notes are also provided for many labels to elucidate histories too complicated for tab-ulation. Coverage extends to phantom labels (advertised or trade-marks registered but no issues made; there are a lot of the latter) and I have noted a few labels known only from liter-ature and therefore not illustrated.
Bear Family ( At first glance Scotty McKay a would be one of the more obscure artists to join the burgeoning 'Rocks' series. is You've probably heard him at several times though, he was th briefly a member of Gene fa Vincent's Blue Caps, briefly, SI but long enough to record ea with him, including 'Baby ar Blue' and appear on the Ed sc Sullivan show in 1957. Bear 4,\ Family have dug deep in the vaults for this compilation spanning 1956 to the 1966 hi including some acetates. It's cfi fascinating to follow Scotty's ri career from the early youthful ti rockers through to the 1960's.
Review by Gary Hill
This new compilation CD captures some solid rock and roll music. This is very much old school music. There is a decent range here, though. It's all pretty solid, and there are some highlights. The disc comes with a large booklet, making for quite a nice package.
This review is available in book format in Music Street Journal: 2020 Volume 3 at
Track by Track Review
This is a high energy old-school rock and roller. I dig the retro rock and roll guitar solo.
Tommy & The Tom Toms: Baby Let's Play House
Feeling very much like Elvis Presley, this rocker is fun stuff.
VARIOUS ARTISTS THAT'LL FLAT GET IT VOL 33 (Bear Family) From the vaults of Renown Records. 8/10
It's astonishing that over 60 years after they were recorded and the fact the rockabilly and rock n roll from the 1950's has been voraciously collected in Europe pretty much since then that so much quality music is still being discovered and recovered for release on compilations like this. This time it's the Renown label of Durham North Carolina that gets the spotlight.
Im Rahmen der beliebten 10" -Serie von Bear Family wird nun das Frühwerk der Legende Carl Perkins unter die Lupe ge-nommen, also Aufnahmen noch vor der Sun-Ära. Die Recordings stammen aus den Jahren 1952-1953 und zeigen ei-nen ausdruckstarken Sänger, der sich noch im klassischen Country aalt („Devil's Dream"), aber schon scharfe Soli aus der Hüfte schießt („Drinking Wine Spo-Dee O-Dee"), dem aber auch Country-Bal-laden bestens liegen („What You Doing When You're Crying"). Bis auf wenige Ausnahmen wurde der Sound toll „aufge-motzt", sodass musikhistorisch Interessier-te und Fans ihre Freude haben werden. Die Ausgabe erscheint mit einer Bonus-CD und 16-seitigem Edel-Booklet (etwas klei-ner als die 10").
DAS BILDERLEXIKON DER DEUTSCHEN SCHELLACK-SCHALLPLATTEN
Dr. Rainer Lotz first published his seminal work Grammophon-platten au der Ragtime Ara in 1979, since when he has produced a large body of work culminating in the magisterial, 44 CD, 2 volume Black Europe in 2013. It seemed impossible for him to produce anything that was even more impressive — but he has. This stupendous work is in 5 volumes with over 2200 pages, more than 10,000 colour pictures of record labels and countless black & white repro-ductions of trade-mark regis-trations and more. This book is not a discography; it has no catalogue reconstructions but it is, as described in the title, a picture encyclopaedia of German record labels. This does not mean that it con-tains information about record labels only sold in Germany; it embraces all records pressed in Germany ir-respective of the country of origin of the master.
In this set, Bear Family Records has created the ultimate package for this album. The combination of Ernie Wilkins’ arrangements, Jerry Wexler and Nesuhi Ertegun’s production and Turner’s roaring vocals alongside his backing band helped to shape the success of the original album. Colin Escott and the team at Bear Family have continued their legacy. Boasting pristine sound quality, attractive packaging and an abundance of bonus material, this is worth picking up if you’re looking to discover or rediscover a huge contribution to Big Joe Turner’s catalogue.
VARIOUS ARTISTS THE GREAT TRAGEDY 2: WINTER DANCE PARTY 1959... AND THE SHOW MUST GO ON Bear Family Records (CD) *** After Buddy Holly, Ritchie Valens, The Big Bopper and pilot Roger Peterson died that fateful morning of February 3, 1959, "The Winter Dance Party" soldiered on for another 10 straight days with Dion & The Belmonts, Frankie Sardo Sc The Crickets, Frankie Avalon, Jimmy Clanton, Fabian, Robert Veline & His Shadows and Bill Par-sons. Holly had fired The Crickets in '58. His new band consisted of bassist Waylon Jennings, guitarist Tommy Allsup and drummer Carl Bunch. Veline found fame later as Bobby Vee. This second volume of music from the aforementioned continues with the aftermath of the event with 34 tracks in just under 80 minutes.
BEAR FAMILY PRESSE
BCD 17600 LINK WRAY "Rocks" BAF 11021 LITTLE RICHARD "The BEst of."
LINK WRAY: Rocks Bear Family BCD 17600 (77:19) Link Wray is reputed to be the loudest of rock guitarists but from personal experience I rate him below Dick Dale though the smaller size of Dale's venue may have been a volumetric factor. Nevertheless, Link certainly is very loud, the reason for which may be explained in Bill Dahl's notes when he states that Fred Lincoln Ray Jr's "childhood bout with the measles had robbed him of a good portion of his hearing". These recordings, dated between 1958 and 1966, were mainly released on the Cadence. Cameo, Epic, Mala, Rumble and Swan labels, and include some rare tracks. Predominantly instrumentals of course, Link himself does sing gruffly on 'Ain't That Loving You Baby' and 'Mary Ann', while his brother Vernon Wray (knrwn as Ray Vernon) vocalises on 'I'm Counting On You' and 'Danger One Way Love'. The CD opens with the great 'Raw Hide' and closes with the classic, slow-paced 'Rumble', the two British hits which make outstanding 'bookends' with dynamic and sometimes tremolo guitar that lives long in the memory. Other outstanding tracks include the easily recognised 'Batman Theme' with deep, ominous notes and a guitar-spoken 'Batmanr: the full sound of 'I'm Branded' with shimmering guitar break; the energetic 'Deuces Wild' with drums upfront; the relaxed tempo and mellow tone of 'Radar; a slow track entitled 'Dinosaur' which includes sax inserts; and a radio/television show derivative 'The Shadow Knows'. With all 34 tracks timed between 1:43 and 2:50 there is little time to be bored. The sound quality is great and the 36-page booklet contains some welcome vintage photos. I'm sure that this digipack will be popular with rocking instrumental fans. Paul Harris
Magazin: Blues & Rhythm , UK Ausgabe Feb. 2020
Blues and r&b sides by artists from Baton Rouge, Louisiana are usually associated with the Excello label: Slim Harpo, Lightnin' Slim, Lazy Lester. Tabby Thomas, Lonesome Sundown plus other fine blues artists (but not as well known) such as Arthur 'Guitar' Kelley, Silas Hogan, Whispering Smith and Jimmy Anderson. Well, they are all here but Martin Hawkins (who produced the set. wrote the notes and track by track analysis) has cast his net wider to include the likes of of Robert Pete Williams, Smoky Babe, Butch Cage, Willie B. Thomas and Clarence Edwards. Covering the years 1954 to 1971, the tracks are taken from sides released on 78s, 45s and albums. As Hawkins states: "We really don't know what the blues sound of Baton Rouge was before 1954", so we kick of with Otis Hicks, (aka Lightnin' Slim) who cut 'Bad Luck' and 'Bugger Bugger Boy', in 1954 for Feature which is swiftly followed by Cleveland White's (Schoolboy Cleve) 'Strange Letter Blues' also cut for Feature but a year later.
Bear Family and El Toro have done a lot of good work in the past twelve months com-memorating the infamous Winter Dance Party tour, with releases looking at the music of Buddy Holly, Ritchie Valens and The Big Bopper, together with various tribute songs. Bear Family went a step further with The The Great Tragedy - The Winter Dance Party 1959' (reviewed in NDT 432) which looked beyond the Three Stars to the others on the original bill, such as Dion and Frankie Sardo. As a follow-up, they now concentrate on the bill after the fateful crash on February 3rd, hence the CD's tagline, 'And The Show Must Go On'. The tour organisers cer-tainly took that adage to heart by amazingly bringing in replacements for the very next night in Moorhead, Minnesota.
These incomers ranged from a couple of up and coming pop stars to two local acts. The CD starts with a short history of the Winter Dance Party before we plunge into Lee Davis' 'Three Young Men'. Written by Pomus & Shuman, it's a poor song with a flat vocal that's as joyful as the occasion. Probably better, and definitely more successful, was Tommy Dee's tribute, 'Three Stars'. Written within hours of the crash, the song was pitched to Eddie Cochran who found it too raw, resulting in Dee recording his own version before the week was out. From the original bill we get a couple each from Sardo and Dion & The Belmonts. Sardo's 'finest' moment for me was 'I Wanna Rock', but here we get both sides of ABC-Paramount 45-10003, the Elvis-like 'No Love Like Me' and the slightly annoying 'Oh Linda'. Dion & The Belmonts are simply sublime on the top side of Laurie 3021, with The Belmonts giving one of their finest performances.
The flip, 'Just You', was a bit too poppy and according to Dion was one of the reasons he left the group and label. The sleeve-notes quote him thus: "I think this is what really split Dion & The Belmonts up, this idea of this smooth sound. I just couldn't embrace it. It was like singing my dad's music, and I just wasn't into it." Flown in to save the day and fill the genuine
VA: THE GREAT TRAGEDY - WINTER DANCE PARTY 1959 #2
am 3. Februar jährte sich zum 61. Mal der Todestag des amerikanischen Sängers, Songschreibers und Gitarristen BUDDY HOLLY, der sich mit Songs wie „Peggy Sue“, „Oh Boy“, „Rave On“ und „That’ll Be The Day“ für alle Zeiten in den Rock ’n’ Roll-Annalen verewigt hat
an diesem Tag bestieg Holly zusammen mit den Rock ’n‘ Rollern Ritchie Valens (17) und Big Bopper (28) nach einem Konzert in Clear Lake, Iowa eine von ihm gecharterte Beechcraft Bonanza, die ihn nach Fargo, North Dakota bringen sollte - vermutlich aufgrund eines Instrumentenablesefehlers des 21-jährigen Piloten Roger Petersen kommt es zum Absturz der kleinen einmotorigen Propellermaschine, den keiner der Insassen überlebt die als Winter Dance Party auf drei Wochen angelegte Tournee durch den Mittleren Westen ging mit den jungen Teenager-Idolen Frankie Avalon, Jimmy Clanton, Fabian, Bobby Vee und Bill Parsons weiter - mit über 30 Aufnahmen erinnert The Great Tragedy - Winter Dance Party 1959 #2 nicht nur an Buddy Holly sondern auch an die Überlebenden und die Ersatzstars - ein starkes wie empfehlenswertes Stück Musikgeschichte, das jetzt erstmals auf CD erhältlich ist
Die Älteren unter Ihnen werden sich erinnern: Es gab mal eine Zeit, als die Frau noch Vollweib sein durfte und das Schönheitsideal nicht der 'Hungerhaken' war. Der Sex wurde nach und nach aus der Schmuddelecke befreit und auf der Kinoleinwand und musikalisch per Vinyl-Platte ans noch zart errötende Publikum gebracht. Das war Ende der 50er, Anfang der 60er Jahre, als im Zuge der moralischen Abrüstung die ersten Busen-Titelseiten an Zeitungskiosken auftauchten und Sexbomben wie Jayne Mansfield und Marilyn Monroe, Sophia Loren und Gina Lollobrigida, Anita Ekberg und Ann-Margret, Elke Sommer und Brigitte Bardot den Männern den Atem nahmen. Vielleicht sprach man noch nicht offen über die schönste Freizeitbeschäftigung der Welt, doch besungen wurde sie implizit.
LITTLE RICHARD: The Best Of... Bear Family BAF11021 Lucille! Good Golly Miss Molly/ Send Me Some Lovin'! Miss Ann/ She Knows How To Rock/ Kansas City/ Jenny, Jenny/ True, Fine Mama/ Hey, Hey, Hey, Hey/ Doh! My Soul/ I'll Never Let You Go/ Baby Face Do I need to even mention the music? Probably not if you're even considering buying this. This remastered ten-inch vinyl album is released in Bear Family's aptly-named 'Vinyl Club Exclusive' series, available only from the company directly and limited to 500 copies. The original contained Specialty recordings and was issued in Japan in 1962 on London/King MPL 1031, becoming a much sought-after item. It would be interesting to know if any contemporary Japanese reviews exist. You want it? Get your skates on then... Norman Darwen
Buck Owens and Merle Haggard are undoubtedly the twin towers of the singular sound invented in Bakersfield, Calif. But as this massive new box set from the Bear Family label so intricately details, there is a Gold Rush of incredible music to be discovered beyond the gates of the Second City of country music.
The Bakersfield Sound is a veritable college course on the evolution of the region, born out of the barrooms and barn dances of the Dust Bowl era with the concept of conspiring a small combo iteration of the Western-swing big-bands who used to roll through town to perform for the laborers. It was a sound that would quickly be dubbed "Honky Tonk," and served as an edgier, more electrified alternative to the Nashville twang of the East Coast. This 10-CD set goes back to the mid-1940s via rare recordings of acts who cut their teeth performing for migrant communities in Central California like Tex Butler and Ebb Pilling, not to mention a live radio performance from Bob Wills and The Texas Playboys, who made Bakersfield a regular stop on their traveling roadshow.