Presse Archiv - William Clarke Heavy Hittin' West Coast Harp (LP, 180gram Vinyl) - Living Blues magazine (US)
Even a cursory survey of the obituaries and tributes that circulated after William Clarke's untimely passing in late 1996 reveals one consistent theme: Clarke was perceived by fans and critics alike as one of the very best harmonica players to ever master the instrument. The blues world is no stranger to hyperbole, for sure, but the praise for Clarke's artistry was (and still is) clearly merited. His dexterous style could oscillate between as-sertive and aggressive to sweet and subtle as the song required, and his rich, fat tone—es-pecially when blowing through amplification equipment—established a benchmark that few have matched. Clarke, a native of Southern California, released several indie label recordings during the late 1970s and 1980s, a time where he honed his craft, as Rod Piazza had before him, under the tutelage of George "Harmoni-ca" Smith. But it wasn't until his partnership with Alligator Records in the 1990s that Clarke started to garner national and international at-tention.
Even a cursory survey of the obituaries and tributes that circulated after William Clarke's untimely passing in late 1996 reveals one consistent theme: Clarke was perceived by fans and critics alike as one of the very best harmonica players to ever master the instrument. The blues world is no stranger to hyperbole, for sure, but the praise for Clarke's artistry was (and still is) clearly merited. His dexterous style could oscillate between as-sertive and aggressive to sweet and subtle as the song required, and his rich, fat tone—es-pecially when blowing through amplification equipment—established a benchmark that few have matched. Clarke, a native of Southern California, released several indie label recordings during the late 1970s and 1980s, a time where he honed his craft, as Rod Piazza had before him, under the tutelage of George "Harmoni-ca" Smith. But it wasn't until his partnership with Alligator Records in the 1990s that Clarke started to garner national and international at-tention.
Press Archive - Carl Perkins - Discovering Carl Perkins - Eastview, Tennesse 1952-1953 (LP, 10inch) - bittersoutherner
A decade ago, Shawn Pitts joined a team doing a “cultural-asset inventory” of McNairy County, Tennessee. Along the way, he discovered unheard recordings made by West Tennessee’s favorite son, the rockabilly great Carl Perkins, made years before he started cutting hits at Sun Records in Memphis. They reveal a young man melding hillbilly music and African American music while Elvis was still a schoolboy. In October, they were released to the world.
For two cats who never met, Carl Perkins and I have a surprisingly complicated history. I’m happy to report it ends well.
When I was growing up in west Tennessee, Carl Perkins, who wrote the rock-and-roll standard “Blue Suede Shoes” in 1955, was everywhere. The civic center in Carl’s Jackson, Tennessee, hometown bore his name. He was a fixture at benefit concerts and other events in our region. Carl was always the main attraction on the annual Circles of Hope Telethon, which raised (and still raises) much-needed funds for children’s charities. Because of the groundwork he laid, a vast network of child-abuse prevention centers across west Tennessee bear his name. People who knew him say all the things Carl Perkins accomplished in his remarkable life, he was proudest of his work on behalf of the region’s most vulnerable children. I would wager that’s more than just a warm, fuzzy story. Personal friends attest to his genuine benevolence and passion for serving kids in need.
A decade ago, Shawn Pitts joined a team doing a “cultural-asset inventory” of McNairy County, Tennessee. Along the way, he discovered unheard recordings made by West Tennessee’s favorite son, the rockabilly great Carl Perkins, made years before he started cutting hits at Sun Records in Memphis. They reveal a young man melding hillbilly music and African American music while Elvis was still a schoolboy. In October, they were released to the world.
For two cats who never met, Carl Perkins and I have a surprisingly complicated history. I’m happy to report it ends well.
When I was growing up in west Tennessee, Carl Perkins, who wrote the rock-and-roll standard “Blue Suede Shoes” in 1955, was everywhere. The civic center in Carl’s Jackson, Tennessee, hometown bore his name. He was a fixture at benefit concerts and other events in our region. Carl was always the main attraction on the annual Circles of Hope Telethon, which raised (and still raises) much-needed funds for children’s charities. Because of the groundwork he laid, a vast network of child-abuse prevention centers across west Tennessee bear his name. People who knew him say all the things Carl Perkins accomplished in his remarkable life, he was proudest of his work on behalf of the region’s most vulnerable children. I would wager that’s more than just a warm, fuzzy story. Personal friends attest to his genuine benevolence and passion for serving kids in need.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - ricentral.com
Where do you begin with a review of a box set documenting the Bakersfield Sound in country music? Here’s thinking the best place is the stats. From the great chroniclers of the music of yesteryear and particularly country music, that being Bear Family Records of Germany, the newly released collection The Bakersfield Sound 1940-1974 is a wonderfully exhaustive motherlode of sounds from that important locale in the history of country music. As for those stats, try this on for size: 300-plus tracks spread over 10 CDs plus a 224-page coffee table-ready hardcover book with an array of photos, many of which are rare, and track-by-track commentary and analysis by Grammy-nominated Bakersfield sound historian Scott B. Bomar.
Where do you begin with a review of a box set documenting the Bakersfield Sound in country music? Here’s thinking the best place is the stats. From the great chroniclers of the music of yesteryear and particularly country music, that being Bear Family Records of Germany, the newly released collection The Bakersfield Sound 1940-1974 is a wonderfully exhaustive motherlode of sounds from that important locale in the history of country music. As for those stats, try this on for size: 300-plus tracks spread over 10 CDs plus a 224-page coffee table-ready hardcover book with an array of photos, many of which are rare, and track-by-track commentary and analysis by Grammy-nominated Bakersfield sound historian Scott B. Bomar.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - arkansas online
The Bakersfield Sound is an identifiable strain of the genre that combines traditional country elements such as stinging steel guitars and snarling Telecasters with an attitude informed by the perspectives of outsiders, the Dust Bowl refugees that poured into California from Texas, Arkansas and Oklahoma by the hundreds of thousands: hillbillies, Arkies, tin-can tourists, harvest gypsies, fruit tramps and Okies.
No version of "Hungry Eyes" appears on The Bakersfield Sound: Country Music Capital of the West, 1940-1974, a 10-CD 299-track seven-and-a-half-pound boxed set produced by Germany-based Bear Family Productions ($190.91 at bear-family.com), probably because it would have been too expensive to obtain the rights. But it does come with a handsome coffee table book researched and written by Los Angeles musicologist Scott Bomar, who might rightfully be designated the author of this collection.
The Bakersfield Sound is an identifiable strain of the genre that combines traditional country elements such as stinging steel guitars and snarling Telecasters with an attitude informed by the perspectives of outsiders, the Dust Bowl refugees that poured into California from Texas, Arkansas and Oklahoma by the hundreds of thousands: hillbillies, Arkies, tin-can tourists, harvest gypsies, fruit tramps and Okies.
No version of "Hungry Eyes" appears on The Bakersfield Sound: Country Music Capital of the West, 1940-1974, a 10-CD 299-track seven-and-a-half-pound boxed set produced by Germany-based Bear Family Productions ($190.91 at bear-family.com), probably because it would have been too expensive to obtain the rights. But it does come with a handsome coffee table book researched and written by Los Angeles musicologist Scott Bomar, who might rightfully be designated the author of this collection.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - goldmine mag
Nestled in California's agricultural Great Central Valley, the Bakersfield area attracted carloads of Great Depression and Dust Bowl era migrants. Of course, they brought their music – a mixture of trad folk, hillbilly, western swing, and more, which made the region a musical melting pot – all the more because a few local radio stations aired all kinds of music, and local TV stations featured nearby performers. With its Telecaster-driven honky-tonk style, Bakersfield eventually became known as Nashville West or the country music capital of the West.
At the start of this enormous box's accompanying book, Chris Shiflett of the Foo Fighters pulls out the old saying that while Nashville country came out of the churches, Bakersfield's came out of the barrooms. Marty Stuart notes, "If you had a little edge on you, if you had a little cowboy in you, if you were a bit of an innovator or a wildcat, you could stand a chance of making it more in California than in Nashville."
Though very different, Merle Haggard (an actual Bakersfield-area native whose family had left Oklahoma) and Texas-born Buck Owens were the Bakersfield sound's biggest successes. With nearly 300 tracks, the box also brings forth plenty of worthy local folks like Billy Mize, who was content with a regional career rather than aiming for national stardom. We hear the Maddox Brothers and Rose (wildcard forerunners of rock and roll), Red Simpson (of the trucker song genre), and 12-string telecaster hero Joe Maphis with wife Rose Lee.
Of all the small labels here, Tally (run by local entrepreneur Lew Talley) was the most significant. Songwriter Harlan Howard's first disc was on it. Jan Howard (his wife at the time) did her first demo tapes at Tally. Just as back in mid-50s Memphis, Sam Phillips at Sun Records found the sound he sought in teenaged Elvis Presley, Talley found his sound in young Merle Haggard. Last-minute copyright issues forced rare Tally tapes of Hag's to be dropped from this package after its book was printed.
Nestled in California's agricultural Great Central Valley, the Bakersfield area attracted carloads of Great Depression and Dust Bowl era migrants. Of course, they brought their music – a mixture of trad folk, hillbilly, western swing, and more, which made the region a musical melting pot – all the more because a few local radio stations aired all kinds of music, and local TV stations featured nearby performers. With its Telecaster-driven honky-tonk style, Bakersfield eventually became known as Nashville West or the country music capital of the West.
At the start of this enormous box's accompanying book, Chris Shiflett of the Foo Fighters pulls out the old saying that while Nashville country came out of the churches, Bakersfield's came out of the barrooms. Marty Stuart notes, "If you had a little edge on you, if you had a little cowboy in you, if you were a bit of an innovator or a wildcat, you could stand a chance of making it more in California than in Nashville."
Though very different, Merle Haggard (an actual Bakersfield-area native whose family had left Oklahoma) and Texas-born Buck Owens were the Bakersfield sound's biggest successes. With nearly 300 tracks, the box also brings forth plenty of worthy local folks like Billy Mize, who was content with a regional career rather than aiming for national stardom. We hear the Maddox Brothers and Rose (wildcard forerunners of rock and roll), Red Simpson (of the trucker song genre), and 12-string telecaster hero Joe Maphis with wife Rose Lee.
Of all the small labels here, Tally (run by local entrepreneur Lew Talley) was the most significant. Songwriter Harlan Howard's first disc was on it. Jan Howard (his wife at the time) did her first demo tapes at Tally. Just as back in mid-50s Memphis, Sam Phillips at Sun Records found the sound he sought in teenaged Elvis Presley, Talley found his sound in young Merle Haggard. Last-minute copyright issues forced rare Tally tapes of Hag's to be dropped from this package after its book was printed.
Presse Archiv - Link Wray Rocks - NOW DIG THIS
Whilst the above selections merit their inclusion in the set and add variety, Link's legacy lies in his brutal instrumentals. As Bill Dahl writes in his terrific liner notes: "No guitarist ever said more with a handful of titanic power chords." 'Raw Hide', 'Batman Theme', 'I'm Branded', 'Jack The Ripper', 'Run, Chicken, Run', 'Ace Of Spades' and his immortal signature tune 'Rumble', inspired in part by The Diamonds' The Stroll', are all here. The titles have been well chosen and I rated seventeen of the remainder as high quality. The slow original 'Big City After Dark' and cover of Bill Doggett's hectic 'Hold It' were credited to Ray Vernon & The Raymen on initial release.
The Latin-flavoured 'El Toro' and 'Pancho Villa' are essentially the same tune and both versions are fine. 'Tijuana', as one would expect, is another with a Mexican flavour. 'Slinky' features jungle drums and 'Right Turn' is a raw bash. The snappy 'Hand Clapper' and `Studio Blues', misleadingly titled as it's a solid mover, have the band's pal Switchy on sax. 'Deuces Wild' is gutsy and 'Hang On' is pacy with a potent sting. 'Turnpike USA' is an infectious mover and 'Dance Contest' doesn't hang around either. The 'Apache'-like 'The Outlaw' is quite sparse
and the pacy 'Mr. Guitar' is aptly named. The sinister `The Shadow Knows' and Duane Eddy-ish 'Dixie Doodle' also make it into this category.
Whilst the above selections merit their inclusion in the set and add variety, Link's legacy lies in his brutal instrumentals. As Bill Dahl writes in his terrific liner notes: "No guitarist ever said more with a handful of titanic power chords." 'Raw Hide', 'Batman Theme', 'I'm Branded', 'Jack The Ripper', 'Run, Chicken, Run', 'Ace Of Spades' and his immortal signature tune 'Rumble', inspired in part by The Diamonds' The Stroll', are all here. The titles have been well chosen and I rated seventeen of the remainder as high quality. The slow original 'Big City After Dark' and cover of Bill Doggett's hectic 'Hold It' were credited to Ray Vernon & The Raymen on initial release.
The Latin-flavoured 'El Toro' and 'Pancho Villa' are essentially the same tune and both versions are fine. 'Tijuana', as one would expect, is another with a Mexican flavour. 'Slinky' features jungle drums and 'Right Turn' is a raw bash. The snappy 'Hand Clapper' and `Studio Blues', misleadingly titled as it's a solid mover, have the band's pal Switchy on sax. 'Deuces Wild' is gutsy and 'Hang On' is pacy with a potent sting. 'Turnpike USA' is an infectious mover and 'Dance Contest' doesn't hang around either. The 'Apache'-like 'The Outlaw' is quite sparse
and the pacy 'Mr. Guitar' is aptly named. The sinister `The Shadow Knows' and Duane Eddy-ish 'Dixie Doodle' also make it into this category.
Press Archive - COUNTRY ALL-STARS String Dustin' (LP, 10inch, Ltd.) -now dig this
It's pop and jazz with covers from Irving Berlin to Benny Goodman, and it was no doubt because of this that RCA did little to promote the album on its release, which has therefore resulted in its rarity. No one will be surprised by Chet's ability to play in this swinging jazz style, but fans of the cornball duo Homer & Jethro might find it harder to comprehend. Interviewed in later life, Chet himself was critical of his own playing, but he sounds pretty good to me. I can't honestly sit here and say that I'm a big fan of the album and it won't get much in the way of repeat plays, but you can only admire the intricate musicianship on offer. The more broadminded amongst you and, no doubt, musicians, will find lots to enjoy here.
Laid back and almost like front-porch picking if the house was the Prague Opera House, the playing is delicate, crisp and at times inspiring. If this ten-track reissue is your bag, Bear Family brought out a CD in the early '90s with additional tracks, appropriately called 'Jazz From The Hills'. EMMA & THE RAGMEN Headin' Out Country / Mr. Jones / I'm Ready Rampage RR-19-20 The back catalogue of Rampage Records includes releases by Mons Wheeler and Keith Turner plus an album by Emma & The Ragmen back in 2017. This new release features two originals and a cover and all three tracks are hard-hitting numbers. The top side is a growling rocker with great stinging guitar, excellent vocals from Emma and a catchy chorus. 'Mr Jones' is a meaty instrumental with strong guitar and drums.
The storming cover of Fats' I'm Ready' has the addition of a sax, presumably Kenny Tomlinson, but the basic packaging has no session details. The vocals are solid and with two hot sax and guitar solos it's another winner. This is a cracking single that is easy to recommend.
It's pop and jazz with covers from Irving Berlin to Benny Goodman, and it was no doubt because of this that RCA did little to promote the album on its release, which has therefore resulted in its rarity. No one will be surprised by Chet's ability to play in this swinging jazz style, but fans of the cornball duo Homer & Jethro might find it harder to comprehend. Interviewed in later life, Chet himself was critical of his own playing, but he sounds pretty good to me. I can't honestly sit here and say that I'm a big fan of the album and it won't get much in the way of repeat plays, but you can only admire the intricate musicianship on offer. The more broadminded amongst you and, no doubt, musicians, will find lots to enjoy here.
Laid back and almost like front-porch picking if the house was the Prague Opera House, the playing is delicate, crisp and at times inspiring. If this ten-track reissue is your bag, Bear Family brought out a CD in the early '90s with additional tracks, appropriately called 'Jazz From The Hills'. EMMA & THE RAGMEN Headin' Out Country / Mr. Jones / I'm Ready Rampage RR-19-20 The back catalogue of Rampage Records includes releases by Mons Wheeler and Keith Turner plus an album by Emma & The Ragmen back in 2017. This new release features two originals and a cover and all three tracks are hard-hitting numbers. The top side is a growling rocker with great stinging guitar, excellent vocals from Emma and a catchy chorus. 'Mr Jones' is a meaty instrumental with strong guitar and drums.
The storming cover of Fats' I'm Ready' has the addition of a sax, presumably Kenny Tomlinson, but the basic packaging has no session details. The vocals are solid and with two hot sax and guitar solos it's another winner. This is a cracking single that is easy to recommend.
Press Archive - Carl Perkins - Discovering Carl Perkins - Eastview, Tennesse 1952-1953 (LP, 10inch) - Now Dig This
The nine tracks are on 10" white vinyl but also a "free bonus CD", and are joined by a 16-page booklet with detailed, authoritative notes by Hank Davis, Shawn Pitts and Scott Parker. There are period photos, too, plus shots of the four acetate labels. The front cover features an image of Carl with W.S. Holland taken in 1953. This is a superb release of historical performance that will please both hardcore Perkins and rockabilly fans alike. The initial 2000 print run had sold out within days of it being released; it's currently being repressed as I write. Carl Perkins' status as the ultimate rockabilly performer is elevated even further - if that's remotely possible - with this release. His claims of having been performing rockabilly in its purest form way before it reached a wider audience are on display for all to hear.
The nine tracks are on 10" white vinyl but also a "free bonus CD", and are joined by a 16-page booklet with detailed, authoritative notes by Hank Davis, Shawn Pitts and Scott Parker. There are period photos, too, plus shots of the four acetate labels. The front cover features an image of Carl with W.S. Holland taken in 1953. This is a superb release of historical performance that will please both hardcore Perkins and rockabilly fans alike. The initial 2000 print run had sold out within days of it being released; it's currently being repressed as I write. Carl Perkins' status as the ultimate rockabilly performer is elevated even further - if that's remotely possible - with this release. His claims of having been performing rockabilly in its purest form way before it reached a wider audience are on display for all to hear.
Presse Archiv - Billy Fury Wondrous Place - The Brits Are Rocking - Now Dig This
He did, however, cut one of his own the following July, the superb, dark and moody 'Don't Jump'. Lesser-known items include a trio of originals, the soulful 'If I Lose You' from November '61, the r'n'b stroller 'Keep Away' and the somewhat average 'What Did I Do' from the January '63 session that yielded the 'Billy Fury & The Tor-nados' EP. 'Twist Kid' pre-dates the beat groups that were just about to pop their mopped heads over the horizon. The five tracks from the semi-live April 1963 session with The Tornados and 500 teenage girls show that Fury was still a rocker at heart despite the flow of ballads being released. From the same year we get a great version of LaVern Baker's 'Bumble Bee'. By the time of his most recent recording here, March 1964, Billy's backing band was The Gamblers and their heavier sound was evident on recordings like 'The Hippy Hippy Shake' and the one included here, a barnstorming take on 'Nothin' Shakin". I commend Bear Family on the brilliant job they've done here, from the sleeve-notes to the choice of recordings.
He did, however, cut one of his own the following July, the superb, dark and moody 'Don't Jump'. Lesser-known items include a trio of originals, the soulful 'If I Lose You' from November '61, the r'n'b stroller 'Keep Away' and the somewhat average 'What Did I Do' from the January '63 session that yielded the 'Billy Fury & The Tor-nados' EP. 'Twist Kid' pre-dates the beat groups that were just about to pop their mopped heads over the horizon. The five tracks from the semi-live April 1963 session with The Tornados and 500 teenage girls show that Fury was still a rocker at heart despite the flow of ballads being released. From the same year we get a great version of LaVern Baker's 'Bumble Bee'. By the time of his most recent recording here, March 1964, Billy's backing band was The Gamblers and their heavier sound was evident on recordings like 'The Hippy Hippy Shake' and the one included here, a barnstorming take on 'Nothin' Shakin". I commend Bear Family on the brilliant job they've done here, from the sleeve-notes to the choice of recordings.
Presse Archiv - Various Artists Blues Kings Of Baton Rouge (2-CD) - Now Dig This
That Reed groove was really taken to heart down in Baton Rouge, and it made the world a better place. Most of the blues here are good, but the main interest is in that swamp feel, uptempo or slower. The booklet by Martin Hawkins is excellent, and purchase is recommended to those who enjoy black American authentic music, and can take some of the folkier sounds and acoustic blues.
That Reed groove was really taken to heart down in Baton Rouge, and it made the world a better place. Most of the blues here are good, but the main interest is in that swamp feel, uptempo or slower. The booklet by Martin Hawkins is excellent, and purchase is recommended to those who enjoy black American authentic music, and can take some of the folkier sounds and acoustic blues.
Presse Archiv - The Ventures Play Telstar - The Lonely Bull - now dig this
No stran-gers to a concept album, this one was a set of cover versions of well-known, hit instrumentals from both their peers within the surf rock fraternity and the more standard pop field. The liner notes to the American release reassure the listeners that all the songs have been 'Venture-originated', adding that "they handclap, finger-pop and foot-stomp their way through what may be the most exciting album of their exciting careers"! While none of the covers replace the need for your originals by the likes of The Tornados, Sandy Nel-son, The Champs, The Shadows or Johnny & The Hurricanes, all the versions here are bang on the money and work really well. You'd expect nothing less but what's especially pleasing are the covers of Herb Alpert's 'The Lonely Bull' and Bob Moore's 'Mexico', both soaked in Latin rhythms and guitars. This sort of high-end 'Top Of The Pops' compilation appealed to the masses and it peaked at No.8 on the album charts in the States, becoming their highest placed long-player and also gaining gold record status.
This latest instalment of the ongoing Vinyl Club Exclusive series comes in a vivid red vinyl and the pressing is limited to the usual 500 copies - check out how they've adapted the label to incorporate Bear Family into the Liberty logo...very neat. Highly recommended.
No stran-gers to a concept album, this one was a set of cover versions of well-known, hit instrumentals from both their peers within the surf rock fraternity and the more standard pop field. The liner notes to the American release reassure the listeners that all the songs have been 'Venture-originated', adding that "they handclap, finger-pop and foot-stomp their way through what may be the most exciting album of their exciting careers"! While none of the covers replace the need for your originals by the likes of The Tornados, Sandy Nel-son, The Champs, The Shadows or Johnny & The Hurricanes, all the versions here are bang on the money and work really well. You'd expect nothing less but what's especially pleasing are the covers of Herb Alpert's 'The Lonely Bull' and Bob Moore's 'Mexico', both soaked in Latin rhythms and guitars. This sort of high-end 'Top Of The Pops' compilation appealed to the masses and it peaked at No.8 on the album charts in the States, becoming their highest placed long-player and also gaining gold record status.
This latest instalment of the ongoing Vinyl Club Exclusive series comes in a vivid red vinyl and the pressing is limited to the usual 500 copies - check out how they've adapted the label to incorporate Bear Family into the Liberty logo...very neat. Highly recommended.
Presse Archiv - Autumn Leaves – 29 Gems for the Indian Summer -Now Dig This
VARIOUS ARTISTS Autumn Leaves -29 Gems For The Golden Season Of Indian Summer Bear Family BCD 17503
Bear Family love their 'themed' compilations and here's another one, this time featuring 29 'weather' songs; in partic-ular from the latter part of the year that precedes winter. The booklet's intro-duction is almost a review in itself: "Welcome to the scenery of autumn. We'd like you to escape with us into the world of falling leaves, colourful woods, rain and thunderstorms, the warmth of the Indian sum-mer, and of course the melancholy of the fall sea-son!
VARIOUS ARTISTS Autumn Leaves -29 Gems For The Golden Season Of Indian Summer Bear Family BCD 17503
Bear Family love their 'themed' compilations and here's another one, this time featuring 29 'weather' songs; in partic-ular from the latter part of the year that precedes winter. The booklet's intro-duction is almost a review in itself: "Welcome to the scenery of autumn. We'd like you to escape with us into the world of falling leaves, colourful woods, rain and thunderstorms, the warmth of the Indian sum-mer, and of course the melancholy of the fall sea-son!
Press Archive - The Best Of Little Richard !! (LP, 10inch, Ltd.) - now dig this
A faithful, detailed reworking of the rare 1953 RCA album (LPM 3167), this 10" reissue comes in Gretsch guitar orange vinyl on a limited 500 copy run. The Country All Stars were the brain child of Chet Atkins and were Jerry Byrd on steel guitar, Dale Potter on fiddle and Homer & Jethro on guitar and mandolin the music. As the title suggests, it's a compilation delving into the Specialty back catalogue. I love the track listing which doesn't just plum for the big hits like 'Tutti Frutti', 'Rip It Up' or 'The Girl Can't Help It', but instead includes a couple of slightly lesser-known items. The earliest things here are the sublime 'True Fine Mama' and 'Kansas City' from a November 1955 session at Radio Recorders in Hollywood. cut with Guitar Slim's band, and they feature more backing vocals than future recordings.
The rest come from sessions at either the J&M Studios in New Orleans with the likes of Alvin 'Red' Tyler, Lee Allen and Earl Palmer, or in Los Angeles at Master Recorders with Grady Gaines and Charles Conner. While Joe Public thinks of Little Richard's sound as the piano-driving rock n roll of 'Good Golly Miss Molly' or 'Lucille', we know, as this comp shows, there's more to him than that. For every manic rocker like 'She Knows How To Rock Me' or 'Ooh! My Soul' there's a beautiful ballad like 'Send Me Some Lovin" or an r'n'b pleader like 'Miss Ann'. It's preaching to the converted here, so all I need say is that the sound quality is fabulous, this series deserves your support and if gold vinyl is yer thang, this is an album you'll just have to own.
A faithful, detailed reworking of the rare 1953 RCA album (LPM 3167), this 10" reissue comes in Gretsch guitar orange vinyl on a limited 500 copy run. The Country All Stars were the brain child of Chet Atkins and were Jerry Byrd on steel guitar, Dale Potter on fiddle and Homer & Jethro on guitar and mandolin the music. As the title suggests, it's a compilation delving into the Specialty back catalogue. I love the track listing which doesn't just plum for the big hits like 'Tutti Frutti', 'Rip It Up' or 'The Girl Can't Help It', but instead includes a couple of slightly lesser-known items. The earliest things here are the sublime 'True Fine Mama' and 'Kansas City' from a November 1955 session at Radio Recorders in Hollywood. cut with Guitar Slim's band, and they feature more backing vocals than future recordings.
The rest come from sessions at either the J&M Studios in New Orleans with the likes of Alvin 'Red' Tyler, Lee Allen and Earl Palmer, or in Los Angeles at Master Recorders with Grady Gaines and Charles Conner. While Joe Public thinks of Little Richard's sound as the piano-driving rock n roll of 'Good Golly Miss Molly' or 'Lucille', we know, as this comp shows, there's more to him than that. For every manic rocker like 'She Knows How To Rock Me' or 'Ooh! My Soul' there's a beautiful ballad like 'Send Me Some Lovin" or an r'n'b pleader like 'Miss Ann'. It's preaching to the converted here, so all I need say is that the sound quality is fabulous, this series deserves your support and if gold vinyl is yer thang, this is an album you'll just have to own.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - THE WALL STREET JOURNAL
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - allmusic
Buck Owens turned Bakersfield, California into the epicenter of hip country music in the mid-1960s. All it took was a remarkable streak of number one singles that steamrolled right through Nashville with their electrified twang, forever changing the notion of what constituted country music and codifying the Bakersfield sound as hard-driving rhythms, trebly Telecasters and lean arrangements suited for honky tonks, beer joints and jukeboxes all across America. Half a century later, these remain sonic signifiers of Bakersfield, so the term no longer conveys a specific sounds, place and era—a situation the weighty Bear Family box The Bakersfield Sound: Country Music Capital Of The West 1940-1974 intends to rectify.
Buck Owens turned Bakersfield, California into the epicenter of hip country music in the mid-1960s. All it took was a remarkable streak of number one singles that steamrolled right through Nashville with their electrified twang, forever changing the notion of what constituted country music and codifying the Bakersfield sound as hard-driving rhythms, trebly Telecasters and lean arrangements suited for honky tonks, beer joints and jukeboxes all across America. Half a century later, these remain sonic signifiers of Bakersfield, so the term no longer conveys a specific sounds, place and era—a situation the weighty Bear Family box The Bakersfield Sound: Country Music Capital Of The West 1940-1974 intends to rectify.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - audiophilereview.com
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - audiophilereview.com
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - audiophilereview.com
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
These 10 CDs will keep your ears busy picking out old and new favorites, and the accompanying book is a great read by itself. Ken Burns got it right on film, but the Bear Family’s taped archives are just as important and entertaining for capturing this era of country music history, as a standalone piece or an accompaniment.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - audiophilereview.com
Buck Owens' "Down On The Corner" was his first commercial recording from 1955 on the Pep Records label! Johnny Bond's "I Like That Kind" is a neat little rocker (and yes, there is plenty of borderline rock and rock-a-billy styling going on here amidst the country twang). 'Steady Lovin'" (probably by) Skeets McDonald is also a bit of rock 'n rollin' joy.
Guitarists will get a kick out of hearing the first single by Semie Mosley on Mos-Rite Records. Yes, that is the same Mos-Rite that went on to create acclaimed Mosrite Guitars brand that became popular with Surf guitar bands like The Ventures in the 1960s (and The Ramones in the 70s!). Here he breaks out "When The Saints Go Marching In."
And the set goes on like this. It is really interesting how in very short order you hear The Bakersfield Sound emerge across these recordings, sounding immediately more modern and more rocking than earlier Nashville based productions. Even on the modern productions found on the later discs in the set the Bakersfield flavors can be heard quite clearly.
Indeed, The Bakersfield Sound is not just about a style of music, its about an attitude and it comes across all of these tracks.
This collection is essential listening if you love Country Western music.
Buck Owens' "Down On The Corner" was his first commercial recording from 1955 on the Pep Records label! Johnny Bond's "I Like That Kind" is a neat little rocker (and yes, there is plenty of borderline rock and rock-a-billy styling going on here amidst the country twang). 'Steady Lovin'" (probably by) Skeets McDonald is also a bit of rock 'n rollin' joy.
Guitarists will get a kick out of hearing the first single by Semie Mosley on Mos-Rite Records. Yes, that is the same Mos-Rite that went on to create acclaimed Mosrite Guitars brand that became popular with Surf guitar bands like The Ventures in the 1960s (and The Ramones in the 70s!). Here he breaks out "When The Saints Go Marching In."
And the set goes on like this. It is really interesting how in very short order you hear The Bakersfield Sound emerge across these recordings, sounding immediately more modern and more rocking than earlier Nashville based productions. Even on the modern productions found on the later discs in the set the Bakersfield flavors can be heard quite clearly.
Indeed, The Bakersfield Sound is not just about a style of music, its about an attitude and it comes across all of these tracks.
This collection is essential listening if you love Country Western music.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - offbeat.com
Bear Family Records is releasing a new box set, I’ve Been Around, which offers access to 312 tracks from the New Orleans singer-pianist Fats Domino. The set includes Domino’s work with Imperial Records (recordings from 1948-1962) and–collected for the first time in a Bear Family Records set–Domino’s ABC-Paramount Records sessions (recordings from 1963-1965). Also included are originally unreleased takes, undubbed masters and unreleased instrumental backing tracks, making this set a must-have for any collectors interested in Domino’s life and work.
Besides Domino’s iconic music, I’ve Been Around includes both a 60-minute and 90-minute cut of the PBS American Masters documentary Fats Domino and the Birth of Rock ’n’ Roll, which was released in 2016 and includes interviews with the late Dave Bartholomew and Crescent City studio owner Cosimo Matassa. The set also includes a 240-page full-color book, filled with updated notes by biographer Rick Coleman, commentary by producers Hank Davis and Scott Parker, a complete Domino sessionography and a collection of previously unpublished pictures.
During the 1950s, Domino was the first R&B artist to gain recognition by the younger generation, bridging the gap between African-American and white audiences. By leaving indelible marks on the history of music–such as “Ain’t it a Shame,” “I’m in Love Again,” “Blue Monday,” “Blueberry Hill” and “I’m Walkin’”–Domino was inducted into the Rock and Roll Hall of Fame in 1986. On Oct. 24, 2017, Domino died at his home in Harvey, LA at the age of 89.
Bear Family Records is releasing a new box set, I’ve Been Around, which offers access to 312 tracks from the New Orleans singer-pianist Fats Domino. The set includes Domino’s work with Imperial Records (recordings from 1948-1962) and–collected for the first time in a Bear Family Records set–Domino’s ABC-Paramount Records sessions (recordings from 1963-1965). Also included are originally unreleased takes, undubbed masters and unreleased instrumental backing tracks, making this set a must-have for any collectors interested in Domino’s life and work.
Besides Domino’s iconic music, I’ve Been Around includes both a 60-minute and 90-minute cut of the PBS American Masters documentary Fats Domino and the Birth of Rock ’n’ Roll, which was released in 2016 and includes interviews with the late Dave Bartholomew and Crescent City studio owner Cosimo Matassa. The set also includes a 240-page full-color book, filled with updated notes by biographer Rick Coleman, commentary by producers Hank Davis and Scott Parker, a complete Domino sessionography and a collection of previously unpublished pictures.
During the 1950s, Domino was the first R&B artist to gain recognition by the younger generation, bridging the gap between African-American and white audiences. By leaving indelible marks on the history of music–such as “Ain’t it a Shame,” “I’m in Love Again,” “Blue Monday,” “Blueberry Hill” and “I’m Walkin’”–Domino was inducted into the Rock and Roll Hall of Fame in 1986. On Oct. 24, 2017, Domino died at his home in Harvey, LA at the age of 89.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - the Vinyl District
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - the Vinyl District
The collection also contains a DVD including both the 60-minute broadcast version and the 90-minute director’s cut of the 2016 PBS American Masters documentary Fats Domino and the Birth of Rock ’n’ Roll. The film — which includes interviews with the late Dave Bartholomew and Crescent City engineer and studio owner Cosimo Matassa — was directed by Joe Lauro and written by Lauro and Rick Coleman.
Befitting the wide, deep scope of the set and reflecting Bear Family’s longstanding commitment to quality presentation, I’ve Been Around includes a full-color, hardcover, large-format book of 240 pages. It contains updated and extended notes by biographer Coleman; track-by-track commentary by producers Hank Davis and Scott Parker (who have been involved in more than 50 Bear Family projects); a comprehensive Domino Imperial sessionography and the most complete ABC-Paramount discography available to date; and many previously unpublished images.
In its dimensions and clothbound elegance, the box replicates the packaging of two previously released, widely acclaimed Bear Family boxes devoted to a pair of Domino’s fellow inaugural Rock Hall inductees: Chuck Berry’s Rock and Roll Music Any Old Way You Choose It, which compiled the singer-songwriter-guitarist’s complete studio recordings, and Jerry Lee Lewis’ What the Hell Else Do You Need?, the most extensive collection ever produced of the singer-pianist’s Sun Records material.
The collection also contains a DVD including both the 60-minute broadcast version and the 90-minute director’s cut of the 2016 PBS American Masters documentary Fats Domino and the Birth of Rock ’n’ Roll. The film — which includes interviews with the late Dave Bartholomew and Crescent City engineer and studio owner Cosimo Matassa — was directed by Joe Lauro and written by Lauro and Rick Coleman.
Befitting the wide, deep scope of the set and reflecting Bear Family’s longstanding commitment to quality presentation, I’ve Been Around includes a full-color, hardcover, large-format book of 240 pages. It contains updated and extended notes by biographer Coleman; track-by-track commentary by producers Hank Davis and Scott Parker (who have been involved in more than 50 Bear Family projects); a comprehensive Domino Imperial sessionography and the most complete ABC-Paramount discography available to date; and many previously unpublished images.
In its dimensions and clothbound elegance, the box replicates the packaging of two previously released, widely acclaimed Bear Family boxes devoted to a pair of Domino’s fellow inaugural Rock Hall inductees: Chuck Berry’s Rock and Roll Music Any Old Way You Choose It, which compiled the singer-songwriter-guitarist’s complete studio recordings, and Jerry Lee Lewis’ What the Hell Else Do You Need?, the most extensive collection ever produced of the singer-pianist’s Sun Records material.
Press Archive - The Best Of Little Richard !! (LP, 10inch, Ltd.) - oldtimereview.co.uk
There was a period around ten years ago when I began to assess recordings made in the first wave of Rock n Roll. Everything from Elvis Presley, Jerry Lee Lewis, and Chuck Berry to Buddy Holly passed through my speakers. Upon reaching the work of (Little) Richard Penniman, it took things to another level. From the moment the vocals blast from the grooves of the record, few can match the energy and eccentric style of Little Richard.
The 11000 series from Bear Family Records is a selection of limited edition vinyl reissues of rare and sometimes pricey vinyl collectibles. This new addition to the collection is a Japanese album from 1962 called ‘The Best Of Little Richard’; originally released on the London/King label. Limited to just 500 copies pressed on colored vinyl, is this 10″ record worth picking up?
The label of the 10″ vinyl reissue of ‘The Best Of Little Richard’ from Bear Family Records. Photograph: Jane Grandle.
When I got my hands on this release, the attention to detail was impressive. Comparing images of the rare original with this new version brings up very few differences. The reproduction of the artwork is convincing, with all Japanese text left in for authenticity. The change of the label logo is possibly the most striking alteration, but the Bear Family design fits comfortably. A colored vinyl does not really appeal to me, but I can appreciate the advantages; It distinguishes it from the original release and looks attractive.
There was a period around ten years ago when I began to assess recordings made in the first wave of Rock n Roll. Everything from Elvis Presley, Jerry Lee Lewis, and Chuck Berry to Buddy Holly passed through my speakers. Upon reaching the work of (Little) Richard Penniman, it took things to another level. From the moment the vocals blast from the grooves of the record, few can match the energy and eccentric style of Little Richard.
The 11000 series from Bear Family Records is a selection of limited edition vinyl reissues of rare and sometimes pricey vinyl collectibles. This new addition to the collection is a Japanese album from 1962 called ‘The Best Of Little Richard’; originally released on the London/King label. Limited to just 500 copies pressed on colored vinyl, is this 10″ record worth picking up?
The label of the 10″ vinyl reissue of ‘The Best Of Little Richard’ from Bear Family Records. Photograph: Jane Grandle.
When I got my hands on this release, the attention to detail was impressive. Comparing images of the rare original with this new version brings up very few differences. The reproduction of the artwork is convincing, with all Japanese text left in for authenticity. The change of the label logo is possibly the most striking alteration, but the Bear Family design fits comfortably. A colored vinyl does not really appeal to me, but I can appreciate the advantages; It distinguishes it from the original release and looks attractive.
Presse Archiv - Various Artists Tell It To Me - The Johnson City Sessions - Revisted (CD) - cashboxmusicreviews
Tell It To Me: Revisiting The Johnson City Sessions 1928-1929
Various Artists
Bear Family/MVD 2019
Review by David Bowling
It's time to climb into the time machine and visit a long-gone musical era. During the late 1920's and early 1930's, various record labels would visit different areas of the country, conduct musical try-outs, and then record the best of those who auditioned.
The Victor, Okeh, and Columbia labels all visited the Appalachian area of the United States. The best known of these auditions was Victor's 1927 Bristol Sessions, which produced the first commercial recordings of Jimmie Rodgers and the Carter Family. Several years later Columbia recorded 100 songs by various artists. While these sessions may not have produced any great stars; they do form a vital link to the development of American music.
Several years ago a 4-CD box set was released that included the entire Johnson City Sessions. Now Tell It To Me: Revisiting The Johnson City Session 1928-1929 has been issued. It is a more manageable release, in that it includes 26 tracks by 26 different artists.
While the artists contained on this CD have mostly disappeared into musical history; the music they left behind forms the beginnings of American country, bluegrass, and rockabilly music, and helped sow the seeds of rock and roll.
Songs and artists such as "When The Roses Bloom For The Bootlegger" by McVay & Johnson, "Just Over The River" by Garland Brothers & Grindstead, "Green Valley Waltz" by McCartt Brothers & Patterson, "Just Pickin'" by Roy Harvey & Leonard Copeland, "Buttermilk Blues" by Ellis Williams, and "The Battleship Maine" by Richard Harold are raw, basic, and recorded during a very non-technological age. The songs include guitars, fiddles, mandolins, banjos, washboards, spoons, and just about anything else that could be used to create sounds.
The sound is nowhere near modern standards. Recorded in an empty store building; every once in a while you can hear a train whistle or sounds from a lumber company in the background.
Whether this music will appeal to you depends on your commitment to the roots of American music. If you are so inclined, Tell It To Me: Revisiting The Johnson City Sessions 1928-1929 will be a treasure trove that leads to a captivating historical journey.
Rating: ****
Tell It To Me: Revisiting The Johnson City Sessions 1928-1929
Various Artists
Bear Family/MVD 2019
Review by David Bowling
It's time to climb into the time machine and visit a long-gone musical era. During the late 1920's and early 1930's, various record labels would visit different areas of the country, conduct musical try-outs, and then record the best of those who auditioned.
The Victor, Okeh, and Columbia labels all visited the Appalachian area of the United States. The best known of these auditions was Victor's 1927 Bristol Sessions, which produced the first commercial recordings of Jimmie Rodgers and the Carter Family. Several years later Columbia recorded 100 songs by various artists. While these sessions may not have produced any great stars; they do form a vital link to the development of American music.
Several years ago a 4-CD box set was released that included the entire Johnson City Sessions. Now Tell It To Me: Revisiting The Johnson City Session 1928-1929 has been issued. It is a more manageable release, in that it includes 26 tracks by 26 different artists.
While the artists contained on this CD have mostly disappeared into musical history; the music they left behind forms the beginnings of American country, bluegrass, and rockabilly music, and helped sow the seeds of rock and roll.
Songs and artists such as "When The Roses Bloom For The Bootlegger" by McVay & Johnson, "Just Over The River" by Garland Brothers & Grindstead, "Green Valley Waltz" by McCartt Brothers & Patterson, "Just Pickin'" by Roy Harvey & Leonard Copeland, "Buttermilk Blues" by Ellis Williams, and "The Battleship Maine" by Richard Harold are raw, basic, and recorded during a very non-technological age. The songs include guitars, fiddles, mandolins, banjos, washboards, spoons, and just about anything else that could be used to create sounds.
The sound is nowhere near modern standards. Recorded in an empty store building; every once in a while you can hear a train whistle or sounds from a lumber company in the background.
Whether this music will appeal to you depends on your commitment to the roots of American music. If you are so inclined, Tell It To Me: Revisiting The Johnson City Sessions 1928-1929 will be a treasure trove that leads to a captivating historical journey.
Rating: ****
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - the second disc
Get ready to find your thrill, as Bear Family Records has announced the ultimate tribute to singer, pianist, and rock-and-roll pioneer Fats Domino. The new 12CD/1DVD box set I’ve Been Around is due on November 8. It’s packed with 312 tracks including all of Domino’s recordings for Imperial Records, the label on which he made his name and recorded his biggest hits from 1948-1962, and ABC-Paramount Records, where he continued turning out stellar work between 1963-1965. This being a Bear Family box, it also features a treasure trove of originally unreleased alternate takes, undubbed and unedited masters, and backing tracks.
With his brash, joyful piano pounding, New Orleans native Antoine “Fats” Domino Jr. was one of the first “crossover” artists to bridge the divide between R&B and pop in the 1950s. It’s no surprise that he was one of the first ten inductees in the first class of the Rock and Roll Hall of Fame as he was a major influence on such artists as Elvis Presley, The Beatles, Elton John, Bobby Darin, and Randy Newman. All 61 of his R&B chart hits (including nine No. 1s) are present on Bear Family’s box, including his 37 top 40 crossover hits. These songs are still as familiar today as they were six decades ago: “Ain’t It a Shame,” “Blue Monday,” “I’m Walkin’,” and of course, “Blueberry Hill.” The original master tape to the latter, a No. 1 R&B/No. 2 pop smash, is badly damaged, but is presented in superior sound here as derived from a clean, original 78 RPM disk.
Get ready to find your thrill, as Bear Family Records has announced the ultimate tribute to singer, pianist, and rock-and-roll pioneer Fats Domino. The new 12CD/1DVD box set I’ve Been Around is due on November 8. It’s packed with 312 tracks including all of Domino’s recordings for Imperial Records, the label on which he made his name and recorded his biggest hits from 1948-1962, and ABC-Paramount Records, where he continued turning out stellar work between 1963-1965. This being a Bear Family box, it also features a treasure trove of originally unreleased alternate takes, undubbed and unedited masters, and backing tracks.
With his brash, joyful piano pounding, New Orleans native Antoine “Fats” Domino Jr. was one of the first “crossover” artists to bridge the divide between R&B and pop in the 1950s. It’s no surprise that he was one of the first ten inductees in the first class of the Rock and Roll Hall of Fame as he was a major influence on such artists as Elvis Presley, The Beatles, Elton John, Bobby Darin, and Randy Newman. All 61 of his R&B chart hits (including nine No. 1s) are present on Bear Family’s box, including his 37 top 40 crossover hits. These songs are still as familiar today as they were six decades ago: “Ain’t It a Shame,” “Blue Monday,” “I’m Walkin’,” and of course, “Blueberry Hill.” The original master tape to the latter, a No. 1 R&B/No. 2 pop smash, is badly damaged, but is presented in superior sound here as derived from a clean, original 78 RPM disk.
Press Archive - COUNTRY ALL-STARS String Dustin' (LP, 10inch, Ltd.) - oltimereview
5th October 2019 Jane Grandle 0 Comments Bear Family Records, Chet Atkins, Country All-Stars, Homer & Jethro, Homer Haynes, Jerry Byrd, Jethro Burns
From the moment the first number kicks in, Chet Atkins’ involvement is immediately obvious. But as Marie progresses it is plain to see that String Dustin’ is going to be a team effort.
The Country All-Stars were something of a super-group before super-groups. Chet Atkins, Homer Haynes, Jethro Burns, Charles Grean, Jerry Byrd, Dale Potter and Ernie Newton are names which will no doubt be familiar to many. Chet Atkins and Homer & Jethro are both big names as artists in the country world, while Byrd, Potter, Newton and others can be heard on hundreds of recordings made in the era.
This album could easily be dismissed as a novelty: merely a bunch of well known Nashville names put together to sell a record. But it is much more than that. Every artist brings something unique and wonderful. The contribution from all is required here to make the album what it is. A fine collection of instrumental renditions of some well known and some original songs, played by a team of brilliant musicians.
Although Country in flavour, it is also a firm contemporary of the warmest jazz of the era, even veering slightly towards rockabilly and rock and roll in places. The skill and versatility of the musicians are incredibly impressive, yet it all sounds so effortless.
Originally released on RCA Victor in 1953, there were only 8 tracks. Following the previous re-issue of these songs as part of a more extensive CD release consisting of 21 tracks, this limited edition vinyl includes two bonus songs, which feel like a perfect match to the original selection.
5th October 2019 Jane Grandle 0 Comments Bear Family Records, Chet Atkins, Country All-Stars, Homer & Jethro, Homer Haynes, Jerry Byrd, Jethro Burns
From the moment the first number kicks in, Chet Atkins’ involvement is immediately obvious. But as Marie progresses it is plain to see that String Dustin’ is going to be a team effort.
The Country All-Stars were something of a super-group before super-groups. Chet Atkins, Homer Haynes, Jethro Burns, Charles Grean, Jerry Byrd, Dale Potter and Ernie Newton are names which will no doubt be familiar to many. Chet Atkins and Homer & Jethro are both big names as artists in the country world, while Byrd, Potter, Newton and others can be heard on hundreds of recordings made in the era.
This album could easily be dismissed as a novelty: merely a bunch of well known Nashville names put together to sell a record. But it is much more than that. Every artist brings something unique and wonderful. The contribution from all is required here to make the album what it is. A fine collection of instrumental renditions of some well known and some original songs, played by a team of brilliant musicians.
Although Country in flavour, it is also a firm contemporary of the warmest jazz of the era, even veering slightly towards rockabilly and rock and roll in places. The skill and versatility of the musicians are incredibly impressive, yet it all sounds so effortless.
Originally released on RCA Victor in 1953, there were only 8 tracks. Following the previous re-issue of these songs as part of a more extensive CD release consisting of 21 tracks, this limited edition vinyl includes two bonus songs, which feel like a perfect match to the original selection.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - goldminemag
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - metal rules
Bear Family Records, the international gold standard for excellence in music reissues, offers the most in-depth look yet available at the groundbreaking R&B and rock ’n’ roll hits of the pioneering New Orleans singer-pianistFats Domino in its new box set I’ve Been Around, to be released November 8, 2019.
The monumental collection contains 312 tracks comprising all the Crescent City titan’s work forImperial Records, for which he cut his first and greatest hits from 1948-1962, and ABC-Paramount Records, his recording home from 1963-65. A motherlode of originally unreleased alternate takes, undubbed and unedited masters, and newly discovered instrumental backing tracks, is included.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Bear Family Records, the international gold standard for excellence in music reissues, offers the most in-depth look yet available at the groundbreaking R&B and rock ’n’ roll hits of the pioneering New Orleans singer-pianistFats Domino in its new box set I’ve Been Around, to be released November 8, 2019.
The monumental collection contains 312 tracks comprising all the Crescent City titan’s work forImperial Records, for which he cut his first and greatest hits from 1948-1962, and ABC-Paramount Records, his recording home from 1963-65. A motherlode of originally unreleased alternate takes, undubbed and unedited masters, and newly discovered instrumental backing tracks, is included.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - shepherdexpress.com
A case could be made for 1948 as the birthdate of rock and roll. "Okie Boogie," recorded that year by The Maddox Brothers and Rose, was western swing stripped to bedrock with a furiously pounding rhythm yanking the usually tragic pedal steel along for a reckless ride. Then again, a track by Bob Wills and his Texas Playboys, "Seven Come Eleven," recorded in 1945 and also included in The Bakersfield Sound, also hints at rockabilly with its fierce slapping rhythm.
The Bakersfield Sound is a magnificently authoritative 10-CD box set whose heavily illustrated hardbound book contains artist bios and track-by-track notations. Wills was included in the set for his seminal influence on the country music scene that coalesced in the environs of Bakersfield, Calif. The city was a mecca for Dust Bowl refugees with farm fields and oil wells offering work for any man willing to roll up his sleeves. Honky-tonks were their place of refuge when the workday ended.
Bakersfield is recalled as an alternative to Nashville, and during the 1960s, it challenged the Tennessee town as country music's capital. All of the folks whose recordings are collected here had aspirations of popularity, and some made it. To generalize the difference with Nashville, the Bakersfield boys (and several gals) were proud of their authentically rural roots and had no interest in hiding them behind slickly conceived pop arrangements.
A case could be made for 1948 as the birthdate of rock and roll. "Okie Boogie," recorded that year by The Maddox Brothers and Rose, was western swing stripped to bedrock with a furiously pounding rhythm yanking the usually tragic pedal steel along for a reckless ride. Then again, a track by Bob Wills and his Texas Playboys, "Seven Come Eleven," recorded in 1945 and also included in The Bakersfield Sound, also hints at rockabilly with its fierce slapping rhythm.
The Bakersfield Sound is a magnificently authoritative 10-CD box set whose heavily illustrated hardbound book contains artist bios and track-by-track notations. Wills was included in the set for his seminal influence on the country music scene that coalesced in the environs of Bakersfield, Calif. The city was a mecca for Dust Bowl refugees with farm fields and oil wells offering work for any man willing to roll up his sleeves. Honky-tonks were their place of refuge when the workday ended.
Bakersfield is recalled as an alternative to Nashville, and during the 1960s, it challenged the Tennessee town as country music's capital. All of the folks whose recordings are collected here had aspirations of popularity, and some made it. To generalize the difference with Nashville, the Bakersfield boys (and several gals) were proud of their authentically rural roots and had no interest in hiding them behind slickly conceived pop arrangements.
Press Archive - Various Artists - The Bakersfield Sound 1940 - 1974 - themortonreport.com
There are also lots of fascinating obscurities, including many rarities from local labels. The program embraces Bill Woods & His Orange Blossom Playboys' 1949 single, "Have I Got a Chance with You," the first commercial release ever by a Bakersfield country group; a cover of the Kalin Twins' 1958 pop hit, "When," by Billy Mize and Cliff Crofford; songwriter Harland Howard's first recording; and bandleader Johnny Barnett's only single, which happens to also have the distinction of being the first commercially released song by Haggard. Also on the menu: Barbara Mandrell's first solo recording; no fewer than three tunes about Dear John letters; a song by country-rock guitarist Clarence White, who would go on to play with the Byrds; and much, much more.
As Bomar says in the liner notes, "We've tried to avoid too much of the obvious stuff you've heard a million times. You'll find some hits, but we've gravitated toward deep cuts, alternate takes, album tracks, live material, and even some rarities that have never been released until now."
The box set's accompanying LP-sized, 224-page hardcover book—which will probably take you at least as long to get through as the music—is nearly as rewarding as the recordings. It includes well-informed essays about the history of the Bakersfield sound, lots of rare photographs, biographies of all the artists, and notes on all the songs. Between the book and the music, there's more than enough here to give you a deep understanding of how this important genre emerged and evolved—and of the impact it has had on the wider world of country.
There are also lots of fascinating obscurities, including many rarities from local labels. The program embraces Bill Woods & His Orange Blossom Playboys' 1949 single, "Have I Got a Chance with You," the first commercial release ever by a Bakersfield country group; a cover of the Kalin Twins' 1958 pop hit, "When," by Billy Mize and Cliff Crofford; songwriter Harland Howard's first recording; and bandleader Johnny Barnett's only single, which happens to also have the distinction of being the first commercially released song by Haggard. Also on the menu: Barbara Mandrell's first solo recording; no fewer than three tunes about Dear John letters; a song by country-rock guitarist Clarence White, who would go on to play with the Byrds; and much, much more.
As Bomar says in the liner notes, "We've tried to avoid too much of the obvious stuff you've heard a million times. You'll find some hits, but we've gravitated toward deep cuts, alternate takes, album tracks, live material, and even some rarities that have never been released until now."
The box set's accompanying LP-sized, 224-page hardcover book—which will probably take you at least as long to get through as the music—is nearly as rewarding as the recordings. It includes well-informed essays about the history of the Bakersfield sound, lots of rare photographs, biographies of all the artists, and notes on all the songs. Between the book and the music, there's more than enough here to give you a deep understanding of how this important genre emerged and evolved—and of the impact it has had on the wider world of country.
Press Archive - Various Artists Blues Kings Of Baton Rouge (2-CD) - goldmine mag
From 1954 to 1971, the city of Baton Rouge gave the world Slim Harpo, Lightning Slim, Lazy Lester, Schoolboy Cleve, Lonesome Sundown, Tabby Thomas, Whispering Smith and Guitar Kelley. These artists and more now have the Bear Family Records treatment of exquisite remastering and copious illumination with a 52-page booklet of rare photos and fascinating information within the phenomenal bonanza that is Blues Kings Of Baton Rouge, 58 tracks on two discs of the real thing. In the running for the best blues compilation of the year, this limited edition (only 1,000 copies were pressed) slides by with a paucity of clinkers. Back in the day, Excello Records in Tennessee had a deal in place with JD Miller, a white entrepreneur/engineer from Louisiana who knew a good thing when he heard it…and we are all the beneficiaries.
Lucky Guy! (Alligator Records), by the Nick Moss Band featuring Dennis Gruenling, is the follow-up to last year’s The High Cost Of Low Living and it expands upon that album’s ferocious program of guitar virtuosity (Moss) and late-night bar-room blues-harp (Gruenling). With tasty production by Kid Andersen (lead guitarist of Rick Estrin & The Nightcats, another blistering blues band), 13 of 14 are original (the sole cover is Johnny O’Neal’s 1976 “Ugly Woman”). The band is funkier than a mosquito’s tweeter (to quote Tina Turner) and with a great wash of Hammond B-3 and Wurlitzer, electric and acoustic bass plus stop-on-a-dime drumming, you’d be hard-pressed to pass this action up...
From 1954 to 1971, the city of Baton Rouge gave the world Slim Harpo, Lightning Slim, Lazy Lester, Schoolboy Cleve, Lonesome Sundown, Tabby Thomas, Whispering Smith and Guitar Kelley. These artists and more now have the Bear Family Records treatment of exquisite remastering and copious illumination with a 52-page booklet of rare photos and fascinating information within the phenomenal bonanza that is Blues Kings Of Baton Rouge, 58 tracks on two discs of the real thing. In the running for the best blues compilation of the year, this limited edition (only 1,000 copies were pressed) slides by with a paucity of clinkers. Back in the day, Excello Records in Tennessee had a deal in place with JD Miller, a white entrepreneur/engineer from Louisiana who knew a good thing when he heard it…and we are all the beneficiaries.
Lucky Guy! (Alligator Records), by the Nick Moss Band featuring Dennis Gruenling, is the follow-up to last year’s The High Cost Of Low Living and it expands upon that album’s ferocious program of guitar virtuosity (Moss) and late-night bar-room blues-harp (Gruenling). With tasty production by Kid Andersen (lead guitarist of Rick Estrin & The Nightcats, another blistering blues band), 13 of 14 are original (the sole cover is Johnny O’Neal’s 1976 “Ugly Woman”). The band is funkier than a mosquito’s tweeter (to quote Tina Turner) and with a great wash of Hammond B-3 and Wurlitzer, electric and acoustic bass plus stop-on-a-dime drumming, you’d be hard-pressed to pass this action up...
Presse - Nate Gibson Nate Gibson & The Stars Of Starday - Boppin' Around Reviews
...Uptempo country wordt opgediend door Jesse McReynolds (die voor het eerst opnam in 1951) met Nobody But You(een mix van twangy gitaar, uptempo fiddles en zelfs een contrabas solo) en Pardon Me, Darnell Miller met Royal Flush (zijn originele Starday versie uit 1959 klonk iets meer rocka-hillbilly) en Back To You, en door de western swing flavour van Bill Clifton's Little White Washed Chimney. Truckin' country wordt vertolkt door het female trio Betty Amos With Judy & Jean (hun eerste trio opnames sinds 1967) in Eighteen Wheels A Rolling, en het door Amos geschreven maar nooit officiëel door haar opgenomen (enkel als demo - de hit was voor Jean Shepard) Second Fiddle (To An Old Guitar) is hardcore honky tonk countrybilly op zijn meest hardcore, net als Sippin' On A Sud van de nu 90-jarige Wade Jackson. Bluegrass krijgen we met het razendsnelle instrumentale Saints Banjo March oftewel When The Saints Go Marching In door banjospeler Little Roy Lewis, terwijl zijn Ain't No Room In The Church For Liars met zang van bluegrass fiddler Lizzy Long semi-akoestische gospel countryblues is. Nog meer country gospel wordt voorgegaan door Margie Singleton (haar Oo-Wee (You're The One For Me) / Teddy was in 1958 geslaagde female rock 'n' roll) in On The Cross. We've Got Things In Common is dan weer een onkreukbaar oerdegelijk man-vrouw country duet met June Stearns - haar eerste commerciële opname in 45 jaar !
Deze cd door oudjes die allemaal slightly off key zingen is een werk van liefde en barmhartigheid, want de kans is groot dat dit voor de meeste van deze artiesten de allerlaatste keer is dat ze voet in een opnamestudio hebben gezet. Geweldige cd, niet alleen omdat dit de soundtrack van een feestje in Huize Vredenburg is, maar ook en vooral omdat bijna alle 24 nummers (+ 1 instrumentale bonustrack door Nate Gibson zelf, een heavy cover van de steel gitaar instrumental The Spook van Pete Drake die in 1962 op Starday psychedelisch moet hebben geklonken) uptempo countryrock en bluegrass met een beat zijn waarin de fiddles en steel gitaren je om de oren vliegen, uitgevoerd door een band die zo strak speelt dat alles fris hedendaags klinkt. Ga zeker ook via de zoekterm "Nate Gibson & the Stars Of Starday" op YouTube op zoek naar de videoclips waarin de artiesten vervangen werden door de marionetten die je op het hoesje ziet, interviews en repetities...
...Uptempo country wordt opgediend door Jesse McReynolds (die voor het eerst opnam in 1951) met Nobody But You(een mix van twangy gitaar, uptempo fiddles en zelfs een contrabas solo) en Pardon Me, Darnell Miller met Royal Flush (zijn originele Starday versie uit 1959 klonk iets meer rocka-hillbilly) en Back To You, en door de western swing flavour van Bill Clifton's Little White Washed Chimney. Truckin' country wordt vertolkt door het female trio Betty Amos With Judy & Jean (hun eerste trio opnames sinds 1967) in Eighteen Wheels A Rolling, en het door Amos geschreven maar nooit officiëel door haar opgenomen (enkel als demo - de hit was voor Jean Shepard) Second Fiddle (To An Old Guitar) is hardcore honky tonk countrybilly op zijn meest hardcore, net als Sippin' On A Sud van de nu 90-jarige Wade Jackson. Bluegrass krijgen we met het razendsnelle instrumentale Saints Banjo March oftewel When The Saints Go Marching In door banjospeler Little Roy Lewis, terwijl zijn Ain't No Room In The Church For Liars met zang van bluegrass fiddler Lizzy Long semi-akoestische gospel countryblues is. Nog meer country gospel wordt voorgegaan door Margie Singleton (haar Oo-Wee (You're The One For Me) / Teddy was in 1958 geslaagde female rock 'n' roll) in On The Cross. We've Got Things In Common is dan weer een onkreukbaar oerdegelijk man-vrouw country duet met June Stearns - haar eerste commerciële opname in 45 jaar !
Deze cd door oudjes die allemaal slightly off key zingen is een werk van liefde en barmhartigheid, want de kans is groot dat dit voor de meeste van deze artiesten de allerlaatste keer is dat ze voet in een opnamestudio hebben gezet. Geweldige cd, niet alleen omdat dit de soundtrack van een feestje in Huize Vredenburg is, maar ook en vooral omdat bijna alle 24 nummers (+ 1 instrumentale bonustrack door Nate Gibson zelf, een heavy cover van de steel gitaar instrumental The Spook van Pete Drake die in 1962 op Starday psychedelisch moet hebben geklonken) uptempo countryrock en bluegrass met een beat zijn waarin de fiddles en steel gitaren je om de oren vliegen, uitgevoerd door een band die zo strak speelt dat alles fris hedendaags klinkt. Ga zeker ook via de zoekterm "Nate Gibson & the Stars Of Starday" op YouTube op zoek naar de videoclips waarin de artiesten vervangen werden door de marionetten die je op het hoesje ziet, interviews en repetities...
Presse - Various Artists Sun Shines On Hank Williams - Sun Artists Sing The Songs Of...TUK Rock and RollVarious Sun Shines On Hank Williams Bear Family
If Hank Williams hadn't died on January 1st 1953 aged just 29 it's guessed that he'd have embraced the rockabilly that was soon to follow. His up-tempo hits had already illustrated his love of a bit of bounce. Despite Hank's untimely demise his legacy marched on in popular music.
If Hank Williams hadn't died on January 1st 1953 aged just 29 it's guessed that he'd have embraced the rockabilly that was soon to follow. His up-tempo hits had already illustrated his love of a bit of bounce. Despite Hank's untimely demise his legacy marched on in popular music.
Presse Archiv - Destination Moon - 50 Years-First Man On The Moon - UK Rock & Roll
Various Destination Moon 50 Years
Bear Family The compilations keep coming from Bear Family, this is a similar concept, though in CD format to the label's Grammy nominated Korean War themed box-set. As the title alludes, this compilation celebrates the 50th anniversary of the Moon landings.
The track list in an eclectic mix of musical styles dominated by the rock n roll era. Setting the scene there's a recording of a fascinating speech from J F K made in 1962 outlining plans to get a man to the Moon by the end of the decade, making Neil Armstrong's 'One Small Step' clip also included, extra poignant.
There are some real musical rarities nestling amongst the better-known tracks, Belgian Johnny Kay's 'Rocket To The Moon' being a notable. Left-field inclusions are the Les Baxter Orchestra and Russian band The Spotnicks along with some US pop that you might never knew existed had they not been included all of which were rubbed shoulders with rock n roll tracks in the 1950s but just not bought by the cool kids.
You might get a bit fed up of hearing the words Moon and Rocket by the end of this comp but it's a cracking journey and a worthy historical document.
Various Destination Moon 50 Years
Bear Family The compilations keep coming from Bear Family, this is a similar concept, though in CD format to the label's Grammy nominated Korean War themed box-set. As the title alludes, this compilation celebrates the 50th anniversary of the Moon landings.
The track list in an eclectic mix of musical styles dominated by the rock n roll era. Setting the scene there's a recording of a fascinating speech from J F K made in 1962 outlining plans to get a man to the Moon by the end of the decade, making Neil Armstrong's 'One Small Step' clip also included, extra poignant.
There are some real musical rarities nestling amongst the better-known tracks, Belgian Johnny Kay's 'Rocket To The Moon' being a notable. Left-field inclusions are the Les Baxter Orchestra and Russian band The Spotnicks along with some US pop that you might never knew existed had they not been included all of which were rubbed shoulders with rock n roll tracks in the 1950s but just not bought by the cool kids.
You might get a bit fed up of hearing the words Moon and Rocket by the end of this comp but it's a cracking journey and a worthy historical document.
Presse - Tommy Steele Doomsday Rock - The Brits Are Rocking, Vol.1 - UK Rock & Roll
Tommy Steele Doomsday Rock Bear Family This is what appears to be the first in a series subtitled 'The Brits Are Rockin' Vol 1'. Tommy Steele is a fitting artist to kick off the series being a genuine UK original. The compilation opens with 'Rock Around The Town' from what back 1956 from which the title track also dates. Steele's style was initially vocally Elvis Presley but musically more Bill Haley's Comets which made for a great mash-up. Of the 34 tracks included most were recorded in that rockin' 56/57 period, when Tommy Steele was the top of the pile of UK rock n roll before he became a music hall cheeky cockney.
Simon Nott
Tommy Steele Doomsday Rock Bear Family This is what appears to be the first in a series subtitled 'The Brits Are Rockin' Vol 1'. Tommy Steele is a fitting artist to kick off the series being a genuine UK original. The compilation opens with 'Rock Around The Town' from what back 1956 from which the title track also dates. Steele's style was initially vocally Elvis Presley but musically more Bill Haley's Comets which made for a great mash-up. Of the 34 tracks included most were recorded in that rockin' 56/57 period, when Tommy Steele was the top of the pile of UK rock n roll before he became a music hall cheeky cockney.
Simon Nott
Presse Archiv - Various Artists Tell It To Me - The Johnson City Sessions - Revisted (CD) - JP's Music BlogRevisit The Johnson City Sessions With New "Tell It To Me" Compilation
Back in 2013, the Bear Family Records label released the award-winning box set "The Johnson City Sessions: Can You Sing Or Play Old-Time Music?" It featured songs from the Columbia Records archives that were recorded in Johnson City, Tennessee between 1928 and 1929. On August 2nd, the Bear Family Records released a new 26-song condensed version of that set, which highlights mainly the essential tracks, in honor of the 90th anniversary of the Johnson City Sessions.
The set features some of the earliest recordings for Columbia Records as artists like Clarence Greene ("Johnson City Blues") and Jack Johnson ("I'm Just A Black Sheep") showcase the basics of the blues. You also get that one-of-a-kind classic country twang with artists like Grant Brothers ("Tell It To Me Baby") and Charlie Bowman ("Roll On Buddy"). The classic folk strumming of George Roark ("I Ain't A Bit Drunk") and Roy Harvey with Leonard Copeland ("Just Pickin'") will quicken your pulse with their swift guitar playing. It's nice to take a step back from today's modern music to appreciate the tunes and melodies that helped shaped these forms of music that we have come to love. To find out more about this new release "Tell It To Me: Revisiting The Johnson City Sessions 1928-1929," from Bear Family Records, please visit bear-family.com.
Back in 2013, the Bear Family Records label released the award-winning box set "The Johnson City Sessions: Can You Sing Or Play Old-Time Music?" It featured songs from the Columbia Records archives that were recorded in Johnson City, Tennessee between 1928 and 1929. On August 2nd, the Bear Family Records released a new 26-song condensed version of that set, which highlights mainly the essential tracks, in honor of the 90th anniversary of the Johnson City Sessions.
The set features some of the earliest recordings for Columbia Records as artists like Clarence Greene ("Johnson City Blues") and Jack Johnson ("I'm Just A Black Sheep") showcase the basics of the blues. You also get that one-of-a-kind classic country twang with artists like Grant Brothers ("Tell It To Me Baby") and Charlie Bowman ("Roll On Buddy"). The classic folk strumming of George Roark ("I Ain't A Bit Drunk") and Roy Harvey with Leonard Copeland ("Just Pickin'") will quicken your pulse with their swift guitar playing. It's nice to take a step back from today's modern music to appreciate the tunes and melodies that helped shaped these forms of music that we have come to love. To find out more about this new release "Tell It To Me: Revisiting The Johnson City Sessions 1928-1929," from Bear Family Records, please visit bear-family.com.
Presse - The Everly Brothers - Studio Outtakes - Blue Suede News
In 1985 Rhino Records issued a collection of studio outtakes from various Everly Brothers sessions for Cadence Records, All They Had To Do Was Dream. It was followed by the giant Classic Everly Brothers box set on Bear Family, which featured even more outtakes and offered an intimate portrait of the brothers at work in the studio with label owner Archie Bleyer and Nashville's storied "A-Team" of hotshot musicians, including Chet Atkins, whose distinctive guitar was featured on many of their hits. The 34 tracks offer alternative versions of hits like "All I Have To Do Is Dream," "Bird Dog," "Wake Up Little Susie" and "Take A Message To Mary," along with B-sides and album tracks.
The main focus of the brothers was those amazing voices that seemed to ebb and rise as one on Rockers and ballads. They worked with a small group of musicians, usually sans the strings and horns that became more of a focus when they moved on to Warner Bros. Nonetheless, there are differences in the hit tracks and the sides that didn't make it. They all sound pretty good, even to ears that have heard all their hits hundreds of times. As is usually the case with these projects, there was a compelling reason to issue the version that became the single, but that doesn't mean the alternatives don't sound good. You also get the usual BF in-depth liner notes and rare studio photos. Bear-family.com -Mark Marymon
In 1985 Rhino Records issued a collection of studio outtakes from various Everly Brothers sessions for Cadence Records, All They Had To Do Was Dream. It was followed by the giant Classic Everly Brothers box set on Bear Family, which featured even more outtakes and offered an intimate portrait of the brothers at work in the studio with label owner Archie Bleyer and Nashville's storied "A-Team" of hotshot musicians, including Chet Atkins, whose distinctive guitar was featured on many of their hits. The 34 tracks offer alternative versions of hits like "All I Have To Do Is Dream," "Bird Dog," "Wake Up Little Susie" and "Take A Message To Mary," along with B-sides and album tracks.
The main focus of the brothers was those amazing voices that seemed to ebb and rise as one on Rockers and ballads. They worked with a small group of musicians, usually sans the strings and horns that became more of a focus when they moved on to Warner Bros. Nonetheless, there are differences in the hit tracks and the sides that didn't make it. They all sound pretty good, even to ears that have heard all their hits hundreds of times. As is usually the case with these projects, there was a compelling reason to issue the version that became the single, but that doesn't mean the alternatives don't sound good. You also get the usual BF in-depth liner notes and rare studio photos. Bear-family.com -Mark Marymon
Presse - Various Artists Sun Shines On Hank Williams - Sun Artists Sing The Songs Of...Tam Tam, Erfurt SHINES ON HANK WILLIAMS - SAMPLER (Bear Family Records)
Eine große Plattenfirma war in den USA Sun Records, die einige der besten Country- und Rock'n'Roll-Künstler vereinigte. Diese wie-derum interpretierten nun die Songs des früh verstorbenen Hank Williams (1953). Der ge-niale Country-Star wurde von zahlreichen Künstlern wie Johnny Cash und Jerry Lee Lewis interpretiert. Wir hören 16 Künstler, die 26 Songs auf ganz neue, interessante Weise singen. Es gibt guten alten Country, aufwie-gelnden Rock'n'Roll, versteckten Soul, alternative Aufnahmen und Rohfassungen, welche die musikalische Sonne scheinen lassen.
Eine große Plattenfirma war in den USA Sun Records, die einige der besten Country- und Rock'n'Roll-Künstler vereinigte. Diese wie-derum interpretierten nun die Songs des früh verstorbenen Hank Williams (1953). Der ge-niale Country-Star wurde von zahlreichen Künstlern wie Johnny Cash und Jerry Lee Lewis interpretiert. Wir hören 16 Künstler, die 26 Songs auf ganz neue, interessante Weise singen. Es gibt guten alten Country, aufwie-gelnden Rock'n'Roll, versteckten Soul, alternative Aufnahmen und Rohfassungen, welche die musikalische Sonne scheinen lassen.
Press Archive - Billy Lee Riley - Billy Lee Riley Rocks - now dig this
The tracks underline his great versatility and range. He had many different voices and even man-ages to sound like Joe Turner on a powerful rendition of 'Flip Flop And Fly'. The covers of other familiar titles, 'Barefootin" (previously unreleased), 'Teenage Letter', 'Mean Woman Blues' and 'Searchin", are equally solid. The jazzy 'Arkansas Traveller', more basic 'Long Gone', strolling 'Catfish' and bluesy 'Shimmy, Shimmy Walk' are purely instrumental and merit their place in the set. 'Rockin' On The Moon' and 'The Little Green Men' are close cousins to 'Flyin' Saucer Rock & Roll' and the bluesy version of 'Red Hot' with harmonica is nice enough in its own right. 'The Way It Was Back Then', from 1994, is a rock n roll history lesson underpinned by a Bo Diddley beat. 'I've Been Searching' and 'Is That All To The Ball (Mr. Hall)' are both decent, brassy rockers. 'Open The Door Rich-ard', 'Everybody's Twisting', the silly 'Nightmare Mash' and odd 'Speed Lovers' are not in the same class as the others. It's always a pleasure to review a Bear Family CD as they invariably go the extra mile.
The digipak comes with a superb 40-page illustrated booklet with authoritative liner notes by Bill Dahl and discography by Colin Escott, Bill Millar and Nico Feuer-bach. I would urge anyone out there lacking a Billy Lee Riley CD to snap this one up pronto. Harry Dodds
The tracks underline his great versatility and range. He had many different voices and even man-ages to sound like Joe Turner on a powerful rendition of 'Flip Flop And Fly'. The covers of other familiar titles, 'Barefootin" (previously unreleased), 'Teenage Letter', 'Mean Woman Blues' and 'Searchin", are equally solid. The jazzy 'Arkansas Traveller', more basic 'Long Gone', strolling 'Catfish' and bluesy 'Shimmy, Shimmy Walk' are purely instrumental and merit their place in the set. 'Rockin' On The Moon' and 'The Little Green Men' are close cousins to 'Flyin' Saucer Rock & Roll' and the bluesy version of 'Red Hot' with harmonica is nice enough in its own right. 'The Way It Was Back Then', from 1994, is a rock n roll history lesson underpinned by a Bo Diddley beat. 'I've Been Searching' and 'Is That All To The Ball (Mr. Hall)' are both decent, brassy rockers. 'Open The Door Rich-ard', 'Everybody's Twisting', the silly 'Nightmare Mash' and odd 'Speed Lovers' are not in the same class as the others. It's always a pleasure to review a Bear Family CD as they invariably go the extra mile.
The digipak comes with a superb 40-page illustrated booklet with authoritative liner notes by Bill Dahl and discography by Colin Escott, Bill Millar and Nico Feuer-bach. I would urge anyone out there lacking a Billy Lee Riley CD to snap this one up pronto. Harry Dodds
Presse - Various Artists Sun Shines On Hank Williams - Sun Artists Sing The Songs Of...American Music Magazine September 2019, Schweden
Skivan inleds med en demo på •Hey Good Lookid» med Ernie Barton som är ett av åtta tidigare outgivna spår. Dessa blandas med outgivna alternativa tag-ningar, odubbade spår och rena demos och vi hittar till och med ett nya namn i Anette McGce som gör •Your Cheatid Heart• och Jeannie Greene från Cor-inth, Mississippi, som spelade in fyra spår hon betalade för, ett av dessa är .Your Cheatin. Heart». Även Gliff Gleaves ger sig på samma låt år 1958. På det här albumet kan man verkligen skilja agnarna från vetet då det är en enorm klass-skillnad på de inspelningar som Jerry Lee Lewis, Johnny Cash, Sonny Burgess eller Warren Smith presenterar gentemot många av de mindre namnkunniga artisterna.
Skivan inleds med en demo på •Hey Good Lookid» med Ernie Barton som är ett av åtta tidigare outgivna spår. Dessa blandas med outgivna alternativa tag-ningar, odubbade spår och rena demos och vi hittar till och med ett nya namn i Anette McGce som gör •Your Cheatid Heart• och Jeannie Greene från Cor-inth, Mississippi, som spelade in fyra spår hon betalade för, ett av dessa är .Your Cheatin. Heart». Även Gliff Gleaves ger sig på samma låt år 1958. På det här albumet kan man verkligen skilja agnarna från vetet då det är en enorm klass-skillnad på de inspelningar som Jerry Lee Lewis, Johnny Cash, Sonny Burgess eller Warren Smith presenterar gentemot många av de mindre namnkunniga artisterna.
Presse - Tommy Steele Doomsday Rock - The Brits Are Rocking, Vol.1 - American Music Magazine September 2019, Schweden
Tommy Steele var Englands förste rockkung och han slog igenom 1956 med låten «Rock With The Caveman» som placerade sig på en 11:e plats i England samma år. Här i Sverige började intresset för Tommy året efter och det växte sig snabbt. Han gjorde han sin första turné i Sverige i september år 1957 och redan i april var han tillbaks, denna gång med John Barry Seven i kompet. Så var det kampen mellan Tommy och Elvis i Bild Journalen 1958 och i en om-röstning som tidningen arrangerade blev han vald till rock-kung. Ar 1956 fick han sin enda listetta i England med en cover på Marty Robbins «Singing The Blues» och bland hans övriga topplåtar därstädes kan nämnas «Shirley Lee» (9:a 1957), «Water, Water» (5:a 1957), «Nairobi (3:a 1958), «Come On, Let's Go» (9:a 1958), «Little White Bull» (6:a 1959) och «What A Mouth• (5:a 1959).
Han gav ut tre album på 1950-talet «The Steele Show» (5:a 1957), «The Tommy Steele Story» (1:a 1957) och «The Duke Wore Jeans» (1:a 1958). Här i Sverige kom ett antal singel- och Ep-skivor och jag vill minnas art «Nairobi», «Build Up», «Elevator Rock» och «The Only Man On The Island» spelades på ung-domsdanserna. I början av 1960-talet lade han rockgitarren på hyllan och ägnade resten av karriären på musikalscenen. Han gjorde liksom Elvis ett antal filmer och hans första kom redan 1955 med «Kill Me Tomorrow», därefter följde bland annat «The Tommy Steele Story» (1957), «The Duke Wore Jeans» (1957) och «Tommy The Toreador» (1959). På den här utgåvan får vi flera av hans bästa låtar. Läs mer om Tommy i AMM 125. Jan Andersson
Tommy Steele var Englands förste rockkung och han slog igenom 1956 med låten «Rock With The Caveman» som placerade sig på en 11:e plats i England samma år. Här i Sverige började intresset för Tommy året efter och det växte sig snabbt. Han gjorde han sin första turné i Sverige i september år 1957 och redan i april var han tillbaks, denna gång med John Barry Seven i kompet. Så var det kampen mellan Tommy och Elvis i Bild Journalen 1958 och i en om-röstning som tidningen arrangerade blev han vald till rock-kung. Ar 1956 fick han sin enda listetta i England med en cover på Marty Robbins «Singing The Blues» och bland hans övriga topplåtar därstädes kan nämnas «Shirley Lee» (9:a 1957), «Water, Water» (5:a 1957), «Nairobi (3:a 1958), «Come On, Let's Go» (9:a 1958), «Little White Bull» (6:a 1959) och «What A Mouth• (5:a 1959).
Han gav ut tre album på 1950-talet «The Steele Show» (5:a 1957), «The Tommy Steele Story» (1:a 1957) och «The Duke Wore Jeans» (1:a 1958). Här i Sverige kom ett antal singel- och Ep-skivor och jag vill minnas art «Nairobi», «Build Up», «Elevator Rock» och «The Only Man On The Island» spelades på ung-domsdanserna. I början av 1960-talet lade han rockgitarren på hyllan och ägnade resten av karriären på musikalscenen. Han gjorde liksom Elvis ett antal filmer och hans första kom redan 1955 med «Kill Me Tomorrow», därefter följde bland annat «The Tommy Steele Story» (1957), «The Duke Wore Jeans» (1957) och «Tommy The Toreador» (1959). På den här utgåvan får vi flera av hans bästa låtar. Läs mer om Tommy i AMM 125. Jan Andersson
Press Archives - Narvel Felts - Narvel Felts Rocks - American Music Magazine September 2019, Schweden
Huvuddelen av de här spåren har varit tillgangliga tidigare på andra utgåvor som exempelvis Stomper Time år 2015. Här finns dock en del spår jag inte hört tidiga-re och bland dem finns guldkornet •Tony» som gavs ut på Pink samt inspelningar som är utgivna på Roland Janes skivbolag Ara och Renay. De fyra spåren som gjordes för Rollin' Rock år 1998 finns också med liksom ett hans stora paradnum-mer «Pink And Black Days». Här finns två tidigare outgivna spår i «Get On The Right Track Baby» och «The Pawnshop Broker» inspelade för Roland Janes i hans Sonic Studio i Memphis åren 1963 och 1964, den senare är helt suverän och man undrar varför den aldrig gavs ut.
Jag såg honom i Hcmsby för flera år sedan och då framförde han flera av rockspåren och jag blev oerhört överraskad över hur bra låtarna var och Narvel själv var helt suverän, en av de bästa rockshower jag har sen. Vår redaktör som sett honom flera gånger har aldrig sett en dålig spelning med honom. Det medföljande häftet är snyggt med text av Bill Dahl. Har du Stomper Times utgåva är den här en bra komplement trots att dc dubblerar på flera spår. Jan Andersson
Huvuddelen av de här spåren har varit tillgangliga tidigare på andra utgåvor som exempelvis Stomper Time år 2015. Här finns dock en del spår jag inte hört tidiga-re och bland dem finns guldkornet •Tony» som gavs ut på Pink samt inspelningar som är utgivna på Roland Janes skivbolag Ara och Renay. De fyra spåren som gjordes för Rollin' Rock år 1998 finns också med liksom ett hans stora paradnum-mer «Pink And Black Days». Här finns två tidigare outgivna spår i «Get On The Right Track Baby» och «The Pawnshop Broker» inspelade för Roland Janes i hans Sonic Studio i Memphis åren 1963 och 1964, den senare är helt suverän och man undrar varför den aldrig gavs ut.
Jag såg honom i Hcmsby för flera år sedan och då framförde han flera av rockspåren och jag blev oerhört överraskad över hur bra låtarna var och Narvel själv var helt suverän, en av de bästa rockshower jag har sen. Vår redaktör som sett honom flera gånger har aldrig sett en dålig spelning med honom. Det medföljande häftet är snyggt med text av Bill Dahl. Har du Stomper Times utgåva är den här en bra komplement trots att dc dubblerar på flera spår. Jan Andersson
Presse - Del Shannon The Drugstore's Rockin' - Two Silhouettes (CD) - American Music Magazine September 2019, Schweden
DEL SHANNON • «TWO SILHOUETTES» Bear Family Records BCD17596. Speltid: 76:20. Häte: 38-sid. Spår:33. Runaway (Stereo)/His Latest Flame/That's The Way Love Is/My Wild One/Wide Wide World/Torture(version 1)/Hats Off To Larry/The Wamboo/Don'r Gild The Lily, Lily/From Me To You/Two Silhouettes/Froggy/Sue's Gotta Be Mine/Hey Little Girl/ Misery/Hey Baby/Now She's Gone/Nothin'/Lies/So Long Baby/The Swiss Maid/ Dream Baby/Ginny In The Mirror/The Search (Stereo)Mary Jane/Keep Searchin' /1 Don't Care Anymore/You Never Talked About Me/Runaround Suell Won't Be There/ Cry Myself To Sleep/Move It On Over. Under tidigt 1960-tal var Del Shannon en av mina stora favoriter och jag köpte var-je skiva jag kunde fl tag på. På den har utgåvan återfinns flera av de låtar jag kunde spela om och om igen; det gick bara inte att tröttna på dem. När jag spelade den här skivan infann sig den gamla känslan och jag fick rysningar när låtar som «Runaway», »His Latcst Flame», «Hey Little Girl», «So Long Baby», «The Swiss Maid», «Keep Searchin.•, «Little Town Flirt», «That's The Way Love Is», «My Wild One» samt en helt underbar cover av Roy Orbisons «Dream Baby» dånade ut i högtalarna. Del Shannon håller än tycker jag. Hans största framgångar på våra breddgrader blev «So Long Baby» (6:a 1962), «Hey, Little Giri» (4:a 1962), «Little Town Flirt» (5:a 1963), «Two Kinds Of Tcardmps» (6:a 1963), «Two Silhouettes» (15:e 1963), «Sue's Gotta Be Nline» (9:a 1963), «Handy Nian» (9:a 1964), «Keep Scarthid» (1:a 1965), «Strangcr In Town» (13:e 1965) och «Runaway '67» (15:e 1967). I mitten av 1960-talet flyttade han till Los Angeles och skivbolaget Libcrty som gav honom hans näst sista listplacering på Billboard med «The Big Hurt» (94:a 1966). Därefter började han pm-ducera bland andra Brian Hyland och the Shirel-les samt komponera. Hans sista «hit» blev «Sca Of Love» år 1981, producerad av Tom Petty. Del Shannon tog sitt liv den 8 februari 1990 i Santa Clarita, men han musik lever kvar och han har alltid en plats hos mig. Bo Berglind
DEL SHANNON • «TWO SILHOUETTES» Bear Family Records BCD17596. Speltid: 76:20. Häte: 38-sid. Spår:33. Runaway (Stereo)/His Latest Flame/That's The Way Love Is/My Wild One/Wide Wide World/Torture(version 1)/Hats Off To Larry/The Wamboo/Don'r Gild The Lily, Lily/From Me To You/Two Silhouettes/Froggy/Sue's Gotta Be Mine/Hey Little Girl/ Misery/Hey Baby/Now She's Gone/Nothin'/Lies/So Long Baby/The Swiss Maid/ Dream Baby/Ginny In The Mirror/The Search (Stereo)Mary Jane/Keep Searchin' /1 Don't Care Anymore/You Never Talked About Me/Runaround Suell Won't Be There/ Cry Myself To Sleep/Move It On Over. Under tidigt 1960-tal var Del Shannon en av mina stora favoriter och jag köpte var-je skiva jag kunde fl tag på. På den har utgåvan återfinns flera av de låtar jag kunde spela om och om igen; det gick bara inte att tröttna på dem. När jag spelade den här skivan infann sig den gamla känslan och jag fick rysningar när låtar som «Runaway», »His Latcst Flame», «Hey Little Girl», «So Long Baby», «The Swiss Maid», «Keep Searchin.•, «Little Town Flirt», «That's The Way Love Is», «My Wild One» samt en helt underbar cover av Roy Orbisons «Dream Baby» dånade ut i högtalarna. Del Shannon håller än tycker jag. Hans största framgångar på våra breddgrader blev «So Long Baby» (6:a 1962), «Hey, Little Giri» (4:a 1962), «Little Town Flirt» (5:a 1963), «Two Kinds Of Tcardmps» (6:a 1963), «Two Silhouettes» (15:e 1963), «Sue's Gotta Be Nline» (9:a 1963), «Handy Nian» (9:a 1964), «Keep Scarthid» (1:a 1965), «Strangcr In Town» (13:e 1965) och «Runaway '67» (15:e 1967). I mitten av 1960-talet flyttade han till Los Angeles och skivbolaget Libcrty som gav honom hans näst sista listplacering på Billboard med «The Big Hurt» (94:a 1966). Därefter började han pm-ducera bland andra Brian Hyland och the Shirel-les samt komponera. Hans sista «hit» blev «Sca Of Love» år 1981, producerad av Tom Petty. Del Shannon tog sitt liv den 8 februari 1990 i Santa Clarita, men han musik lever kvar och han har alltid en plats hos mig. Bo Berglind
Press Archives - Nate Gibson Nate Gibson & The Stars Of Starday - American Music Magazine September 2019, Schweden
Nate Gibson gav för några år sedan ut boken om skivbolaget Starday. Nu han har letat upp fjorton av Stardays originalartister - Betty Amos mcd Judy & Jean, Bill Clifton, Rudy Grayzell, Wade Jackson, Sleepy LaBccf, Little Roy Lewis, Jesse McReynolds, Darncll Miller, Frankic Miller, Arnold Parker, Margit Sing-leton and June Stearns. Nate gör duetter med alla i 24 spår, resultatet är absolut inte fvskam, visserligen börjar åldern ra ut sin rätt på ett par av legenderna men i stort är jag faktiskt rätt imponerad av resultatet. Oppningspåret «Rain, Rain» samt «Family Man» mcd Frankic Miller sitter som en smäck och dit hör också uptempospåren med Arnold Parker i «Find A New Woman», Darnell Miller i «Royal Flush• och «Mark Of Cain», Sleepy I.aBeef i «All The Time» och «Fm Through». Rudy Grayzell står i egen klass mcd rockrökarna «Let's Get Wild• och «Ducktail». Bland ballader är June Stearns helt suverän i «Wc Got Things In Common». Det bifogade häftet är på 56 sidor och rejält med information artisterna och inspelningarna. Nate Gibson gör att kanonjobb. Ro Rerglind
Nate Gibson gav för några år sedan ut boken om skivbolaget Starday. Nu han har letat upp fjorton av Stardays originalartister - Betty Amos mcd Judy & Jean, Bill Clifton, Rudy Grayzell, Wade Jackson, Sleepy LaBccf, Little Roy Lewis, Jesse McReynolds, Darncll Miller, Frankic Miller, Arnold Parker, Margit Sing-leton and June Stearns. Nate gör duetter med alla i 24 spår, resultatet är absolut inte fvskam, visserligen börjar åldern ra ut sin rätt på ett par av legenderna men i stort är jag faktiskt rätt imponerad av resultatet. Oppningspåret «Rain, Rain» samt «Family Man» mcd Frankic Miller sitter som en smäck och dit hör också uptempospåren med Arnold Parker i «Find A New Woman», Darnell Miller i «Royal Flush• och «Mark Of Cain», Sleepy I.aBeef i «All The Time» och «Fm Through». Rudy Grayzell står i egen klass mcd rockrökarna «Let's Get Wild• och «Ducktail». Bland ballader är June Stearns helt suverän i «Wc Got Things In Common». Det bifogade häftet är på 56 sidor och rejält med information artisterna och inspelningarna. Nate Gibson gör att kanonjobb. Ro Rerglind
Press Archive - Various Artists - The Bakersfield Sound 1940 - 1974 - all about jazz
Various Artists: The Bakersfield Sound Think of country music and the city that immediately springs to mind is Nashville, but for a while Bakersfield became a capitol of country music in its own right, and its importance as the originator of the Bakersfield sound is examined in a massive box set from Bear Family Records, The Bakersfield Sound: Country Music Capital of the West 1940-1974, containing 10 CDs and a 224-page book written by Scott B. Bomar with a foreword by Chris Shiflett of the Foo Fighters.
As Bomar points out, the most well-known definition of the Bakersfield sound is a brand of country music with a hard-edged honky tonk sensibility propelled by Fender Telecaster guitars, a driving beat and pedal steel. Wynn Stewart has been mentioned as one of the founding fathers of the Bakersfield sound and Merle Haggard and Buck Owens have been placed in the center of the narrative. However, there are so many other stories and sounds to be found in Bakersfield in the period between 1940 and 1974 that the box covers. Among the many interesting artists are one of the unsung heroes of Bakersfield, Billy Mize, who was portrayed in William J. Saunders' documentary Billy Mize & the Bakersfield Sound (2014).
Various Artists: The Bakersfield Sound Think of country music and the city that immediately springs to mind is Nashville, but for a while Bakersfield became a capitol of country music in its own right, and its importance as the originator of the Bakersfield sound is examined in a massive box set from Bear Family Records, The Bakersfield Sound: Country Music Capital of the West 1940-1974, containing 10 CDs and a 224-page book written by Scott B. Bomar with a foreword by Chris Shiflett of the Foo Fighters.
As Bomar points out, the most well-known definition of the Bakersfield sound is a brand of country music with a hard-edged honky tonk sensibility propelled by Fender Telecaster guitars, a driving beat and pedal steel. Wynn Stewart has been mentioned as one of the founding fathers of the Bakersfield sound and Merle Haggard and Buck Owens have been placed in the center of the narrative. However, there are so many other stories and sounds to be found in Bakersfield in the period between 1940 and 1974 that the box covers. Among the many interesting artists are one of the unsung heroes of Bakersfield, Billy Mize, who was portrayed in William J. Saunders' documentary Billy Mize & the Bakersfield Sound (2014).
Press Archive - Various Artists Blues Kings Of Baton Rouge (2-CD) - all about jazz
Various Artists: Blues Kings of Baton Rouge Any musical genre gets its own regional twist, and this is especially the case with the blues. Just think of Chicago blues, Memphis blues and Detroit blues. However, a regional variant that has not been examined sufficiently is the blues of Baton Rouge. This fault is corrected by Blues Kings of Baton Rouge, a 2CD-set curated by blues expert Martin Hawkins, released on Bear Family.
The set follows two other major Baton Rouge projects by Hawkins, the definitive box set of recordings by Slim Harpo: Buzzin' the Blues: The Complete Slim Harpo (Bear Family, 2015,) and his book on Harpo and the blues environment in Baton Rouge: Slim Harpo: Blues King Bee of Baton Rouge (Louisiana State University Press, 2017).
Blues Kings of Baton Rouge provides an enjoyable introduction to the blues music of Baton Rouge, focusing on the period between 1954 and 1974. As Hawkins explains in the album's 52-page booklet, the reason for this is quite simple; before 1954, little recorded evidence of the blues scene in Baton Rouge existed, and after 1974, the blues started to disappear, making room for other genres like soul and R&B.
In the years covered by the set, a vibrant, local scene is captured with Slim Harpo as the leading light. Among the 53 tracks, nine are by Harpo, including his big hit "I'm a King Bee." The sound is gritty and down to earth, relying on few instruments like piano, harmonica, guitar and drums. J.D. Miller, who recorded much of the music heard on the set, knew how to recognize an authentic sound and a good blues song and he paved the way for artists like Harpo and Lightnin' Slim. Along the way, he also made up monikers for many of his artists, including the irresistible Lazy Lester and Lonesome Sundown.
Various Artists: Blues Kings of Baton Rouge Any musical genre gets its own regional twist, and this is especially the case with the blues. Just think of Chicago blues, Memphis blues and Detroit blues. However, a regional variant that has not been examined sufficiently is the blues of Baton Rouge. This fault is corrected by Blues Kings of Baton Rouge, a 2CD-set curated by blues expert Martin Hawkins, released on Bear Family.
The set follows two other major Baton Rouge projects by Hawkins, the definitive box set of recordings by Slim Harpo: Buzzin' the Blues: The Complete Slim Harpo (Bear Family, 2015,) and his book on Harpo and the blues environment in Baton Rouge: Slim Harpo: Blues King Bee of Baton Rouge (Louisiana State University Press, 2017).
Blues Kings of Baton Rouge provides an enjoyable introduction to the blues music of Baton Rouge, focusing on the period between 1954 and 1974. As Hawkins explains in the album's 52-page booklet, the reason for this is quite simple; before 1954, little recorded evidence of the blues scene in Baton Rouge existed, and after 1974, the blues started to disappear, making room for other genres like soul and R&B.
In the years covered by the set, a vibrant, local scene is captured with Slim Harpo as the leading light. Among the 53 tracks, nine are by Harpo, including his big hit "I'm a King Bee." The sound is gritty and down to earth, relying on few instruments like piano, harmonica, guitar and drums. J.D. Miller, who recorded much of the music heard on the set, knew how to recognize an authentic sound and a good blues song and he paved the way for artists like Harpo and Lightnin' Slim. Along the way, he also made up monikers for many of his artists, including the irresistible Lazy Lester and Lonesome Sundown.
Press Archive - Billy Lee Riley - Billy Lee Riley Rocks - theaquarian.com
These fond remembrances are due to Rocks (Bear Family Records), a red hot retrospective of Riley’s primal, earthy, roots-rockabilly (35 tracks!) that makes a strong argument for his inclusion into the Rock and Roll Hall Of Fame. With great liner notes by Bill Dahl, beautifully-packaged booklet, and remastered sound, Rocks rocks. Highlights include “Your Cash Ain’t Nothin’ But Trash,” “Arkansas Traveler,” “Flip Flop & Fly,” “Barefootin’,” “Everybody’s Twisting,” “Baby Please Don’t Go,” “Catfish,” “Mean Woman Blues,” “Nightmare Mash,” “The Little Green Men,” and a few versions of “Flying Rock ‘n’ Roll,” plus “Red Hot.”
“My gal is red hot,” he once snarled, “your gal ain’t doodly-squat.”
These fond remembrances are due to Rocks (Bear Family Records), a red hot retrospective of Riley’s primal, earthy, roots-rockabilly (35 tracks!) that makes a strong argument for his inclusion into the Rock and Roll Hall Of Fame. With great liner notes by Bill Dahl, beautifully-packaged booklet, and remastered sound, Rocks rocks. Highlights include “Your Cash Ain’t Nothin’ But Trash,” “Arkansas Traveler,” “Flip Flop & Fly,” “Barefootin’,” “Everybody’s Twisting,” “Baby Please Don’t Go,” “Catfish,” “Mean Woman Blues,” “Nightmare Mash,” “The Little Green Men,” and a few versions of “Flying Rock ‘n’ Roll,” plus “Red Hot.”
“My gal is red hot,” he once snarled, “your gal ain’t doodly-squat.”
Press Archive - The Elvis Presley Connection Vol.1 (CD) - Old Time Review
The CD contains three live recordings, which can sometimes let down a compilation. The two television performances, from Carl Perkins and Dorothy Collins respectively, vary in quality. Perkins’ more stripped-down approach comes across well, whereas Collins’ big band sound can be a bit ‘too much’ for the technology of the era. The radio recording, taken from The Louisiana Hayride, is a charming Country interpretation performed by Lucy Lynn. Bear Family Records have worked with material from this show previously, and it’s clear. The exclusion of the live performances would have evened the CD out to a nice and neat 30 tracks, but it would have lost the colour.
Something Extra…
Housing the CD is an attractive looking digipak along with an extensive 33-page booklet; featuring song and artist information. Alongside the writing are a few relevant images and illustrations. This approach to packaging is a standard with Bear Family releases and is always welcome.
Conclusion:
Bear Family Records have compiled an impressive selection of tracks to cover the subject nicely. There were a lot of options available for both sides of the compilation, and they have picked a good selection to start For the label to name something as volume 1 gives the impression of more Presley connections to come, and I look forward to seeing what treasures they unearth.
The CD contains three live recordings, which can sometimes let down a compilation. The two television performances, from Carl Perkins and Dorothy Collins respectively, vary in quality. Perkins’ more stripped-down approach comes across well, whereas Collins’ big band sound can be a bit ‘too much’ for the technology of the era. The radio recording, taken from The Louisiana Hayride, is a charming Country interpretation performed by Lucy Lynn. Bear Family Records have worked with material from this show previously, and it’s clear. The exclusion of the live performances would have evened the CD out to a nice and neat 30 tracks, but it would have lost the colour.
Something Extra…
Housing the CD is an attractive looking digipak along with an extensive 33-page booklet; featuring song and artist information. Alongside the writing are a few relevant images and illustrations. This approach to packaging is a standard with Bear Family releases and is always welcome.
Conclusion:
Bear Family Records have compiled an impressive selection of tracks to cover the subject nicely. There were a lot of options available for both sides of the compilation, and they have picked a good selection to start For the label to name something as volume 1 gives the impression of more Presley connections to come, and I look forward to seeing what treasures they unearth.
Press Archive - Various Artists - The Bakersfield Sound 1940 - 1974 - country route news
BAKERSFIELD, Calif. — When Buck Owens and Merle Haggard emerged from the dim lights, thick smoke and loud, loud music of Bakersfield, California's thriving honky-tonk scene of the ’50s and ’60s, they changed country music forever. “We represent the end results of all the years of country music in this town,” Haggard once remarked about the California city that served as home base for the two Country Music Hall of Fame inductees.
But how were the twin pillars of the “Bakersfield Sound” shaped by the Central California's city’s larger musical community? Who paved the way for their successes and who were their influences? The Bakersfield Sound 1940-1974 answers these questions and more.
Out from Bear Family on August 9, 2019, this sprawling 10-CD box set is the first multi-disc anthology to cover Bakersfield's country music heritage. Diving deep into the “Bakersfield Sound,” the compilation’s 307 tracks include plenty of fan favorites as well as a vast quantity of deep cuts, alternate takes, radio recordings, demos, live material, and previously unreleased studio recordings.
The massive collection begins with ’40s field recordings of migrants who arrived in Central California to find a better life, and proceeds to trace the development of this historic country music scene all the way through 1974. A turning point year for the Bakersfield Sound, 1974 stands as the last full year Merle Haggard made his home in the city; the year of Buck Owens’ final Top 10 hit as a solo artist; and the year local guitar hero Don Rich was killed in a motorcycle accident.
Offering a glimpse into the early days of the Bakersfield Sound are rare recordings from early pioneers Tex Butler, Tex Marshall, and Ebb Pilling, along with a Bakersfield radio studio performance by Bob Wills and the Texas Playboys from the mid-’40s. During this era, Bakersfield served as a regular major tour stop for this fabled Western Swing ensemble.
BAKERSFIELD, Calif. — When Buck Owens and Merle Haggard emerged from the dim lights, thick smoke and loud, loud music of Bakersfield, California's thriving honky-tonk scene of the ’50s and ’60s, they changed country music forever. “We represent the end results of all the years of country music in this town,” Haggard once remarked about the California city that served as home base for the two Country Music Hall of Fame inductees.
But how were the twin pillars of the “Bakersfield Sound” shaped by the Central California's city’s larger musical community? Who paved the way for their successes and who were their influences? The Bakersfield Sound 1940-1974 answers these questions and more.
Out from Bear Family on August 9, 2019, this sprawling 10-CD box set is the first multi-disc anthology to cover Bakersfield's country music heritage. Diving deep into the “Bakersfield Sound,” the compilation’s 307 tracks include plenty of fan favorites as well as a vast quantity of deep cuts, alternate takes, radio recordings, demos, live material, and previously unreleased studio recordings.
The massive collection begins with ’40s field recordings of migrants who arrived in Central California to find a better life, and proceeds to trace the development of this historic country music scene all the way through 1974. A turning point year for the Bakersfield Sound, 1974 stands as the last full year Merle Haggard made his home in the city; the year of Buck Owens’ final Top 10 hit as a solo artist; and the year local guitar hero Don Rich was killed in a motorcycle accident.
Offering a glimpse into the early days of the Bakersfield Sound are rare recordings from early pioneers Tex Butler, Tex Marshall, and Ebb Pilling, along with a Bakersfield radio studio performance by Bob Wills and the Texas Playboys from the mid-’40s. During this era, Bakersfield served as a regular major tour stop for this fabled Western Swing ensemble.
Press Archive - Lou Cifer & The Hellions - Rockville Revelation - UK Rock N Roll
LOU CIFER & THE HELLIONS 'ROCKVILLE REVELATION' (Bear Family)
This German outfit formed out d the embers of various rock n roll bands back in 1995 and are absolutely tremendous. They are also musically schizophrenic they jump from being super tough teddy boy rock and roll, imagine Crazy Cavan notched up a gear, yes that good. They kick of with that style with the opening track 'Dance With The Devil' but do hick rockabilly like `Carl Is On The Radio' f superbly too. Lyrically, all in English, they are great fun, 'I Don't Wanna Grow Up' a r song that will resonate with plenty of listeners. Bear Family are usually associated with quality reissue compilations, but they've made a great signing here. This is going to blow a lot of doors off barns.
LOU CIFER & THE HELLIONS 'ROCKVILLE REVELATION' (Bear Family)
This German outfit formed out d the embers of various rock n roll bands back in 1995 and are absolutely tremendous. They are also musically schizophrenic they jump from being super tough teddy boy rock and roll, imagine Crazy Cavan notched up a gear, yes that good. They kick of with that style with the opening track 'Dance With The Devil' but do hick rockabilly like `Carl Is On The Radio' f superbly too. Lyrically, all in English, they are great fun, 'I Don't Wanna Grow Up' a r song that will resonate with plenty of listeners. Bear Family are usually associated with quality reissue compilations, but they've made a great signing here. This is going to blow a lot of doors off barns.
Press Archive - Narvel Felts - Narvel Felts Rocks - Now Dig This
NARVEL FELTS Rocks Bear Family BCD 17594
I had previously thought that the Stomper Time compilation. 'Those Rockabilly Days' (see NDT 392). had to have been the last word when it came to Narvels rockin' recordings. but this volume in Bear Family's 'Rocks' series must surely be the mother (and father!) of all com-pilations! All of the Sun and Mercury favourites are here. along with some of those remarkable '56 tracks recorded with Jerry Mercer's band that we first heard on the 'Radio Rockabillies' LP.
NARVEL FELTS Rocks Bear Family BCD 17594
I had previously thought that the Stomper Time compilation. 'Those Rockabilly Days' (see NDT 392). had to have been the last word when it came to Narvels rockin' recordings. but this volume in Bear Family's 'Rocks' series must surely be the mother (and father!) of all com-pilations! All of the Sun and Mercury favourites are here. along with some of those remarkable '56 tracks recorded with Jerry Mercer's band that we first heard on the 'Radio Rockabillies' LP.