Bear Family Records have presented this set in an attractive looking digipak and includes a 40-page booklet containing extensive liner notes by Bill Dahl, along with a discography and rare photographs from the era.
Bear Family Records have done themselves proud on another set that represents an era of change in music, between the first wave of Rock n Roll and the British invasion. Del Shannon’s distinct and unmistakable sound still sounds fresh, in places, and has possibly never sounded better. Including hard to get rare material alongside more established hits make this a must for enthusiasts and collectors alike.
While not musically groundbreaking, this collection is a nice diversion from the usual names that appear in conversations about the genre. Anyone who enjoys good authentic Rockabilly music will get a good kick out of the selection but may be bemused by other influences that occasionally seep through. Bear Family Records have created a full package that represents a prolific but underrated era in the career of Narvel Felts. There may be one or two issues, but none detract from the excellent sound quality and raw Rockabilly. If you’re unfamiliar with Narvel, this is a great place to start.
TOMMY STEELE DOOMSDAY ROCK (Bear Family) Early rockin' tracks. 7/10 This looks to be the first in a series subtitled 'The Brits Are Rockin' Vol I'. Tommy Steele is a fitting artist to kick off the series, he was a true UK original with the first track here 'Rock Around The Town' dating from 1956 from which the title track also dates. Steele's style was a mixture of Elvis Presley but musically more akin to Bill Haley's Comets still hugely popular at the time. His early recording backing band were seasoned jazz musicians which also lent to the latter. Prolific doesn't doesn't cut it when it comes to describing the speed at which Decca recorded and churned out his records. Quite telling that the first 'Tommy Steele Story' EP was out in 1957. 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, here's why. Simon Nott
VARIOUS ARTISTS THAT'LL FLAT GIT IT — VOL 32 (Bear Family) The burgeoning series keeps delivering. 8/10 The train keeps rolling on for Bear Family's long-running series and it shows no sign of slowing down let alone hitting the buffers. This is the series' fourth plundering of the Dec-ca, Coral and Brunswick rich seem of music. Of the 33 tracks the artists range from virtual unknowns like Dodie Randle who had their moment in the studio and vanished, her 'Man Hunt' is breathless and flushed like it should be, to three rumbustious Buddy Holly recordings from 1956 including 'Ting-A-Ling' a rockabilly stomper. This volume illustrates the musical experimentation that was taking place within the rock 'n' roll sphere, tracks here were recorded from New York to Nashville and LA, there was so much talent hitting pay dirt occasionally was a certainty, the downside some musical gold was missed in the melee too. Simon Nott
THE EVERLW BROTHERS
Studio Outtakes Bear Family Productions Charakterystyczne współbrzmienie głosów braci Dona i Phila Everly przeszło do historii rock'n'rolla. Pierwsze przeboje nagra-li w 1957 r. dla niezależnej wytwórni Cadence. Ich muzyka nie miała żadnego związku z bluesem, raczej była przykładem, jak rock podany w kulturalny sposób, staje się produktem maso-wej konsumpcji. Nowa kompilacja archiwalnych nagrań zawiera aż 34 utwory. Na pewno zainteresuje poszukiwaczy rzeczy nieznanych, staroci i nostalgicznych przeżyć. Największym ma-gnesem wydawnictwa jest to, że są to niepublikowane wersje wielu piosenek The Everly Brothers, jak Poor Jenny występują-ca w trzech wersjach. Poznajemy talent wykonawczy zespołu w czystej formie — śpiew najczęściej jedynie z akompaniamen-tem gitar akustycznych. Bear Family specjalizuje się w udostęp-nianiu rarytasów wszelakiej muzyki i ma przebogaty katalog. Ryszard Gloger
24 tracks (plus a bonus track) Producer: Nate Gibson Bear Family 63:00
The Starday record company may be best known for giving George Jones his first break, but it did much more than that. Boss Don Pierce, in charge from the late 50s, had a maverick's taste for recording "unfashionable" honky tonk, bluegrass, old timey and Gospel at a time when Nashville was increasingly focused on smoother sounds. And by giving a second bite of the cherry to older stars, Starday was doing what enlightened operators like of Heart of Texas for country artists and Fat Possum for blues and soul artists have done more recently. To Starday we give thanks for the biggest hit of the Cowboy Copas's career Alabam, and a slightly more minor one for Moon Mullican (Ragged But Right). But Starday might have been forgotten had it not been for the bright young light, part musician, part scholar, part preservationist, that is Nate Gibson. He recorded his first record with Kenny Roberts, another former Starday favourite widely recognised as the finest yodeller in the business, back in 2001. Then, working with Pierce just before he died, he wrote The Starday Story: The House That Country Music Built, which is recommended reading.
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 50’s and 60’s, 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. Due from Bear Family on August 9th, 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 40’s 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.
Bear Family Records' upcoming The Bakersfield Sound 1940-1970 box set, due out Aug. 9, was a labor of love for producer Scott Bomar. He found even more to love when he was presented with was thought to be a lost early recording of Merle Haggard singing "I'm Gonna Break Every Heart I Can," featured on the box and premiering exclusively below.
Haggard recorded the version included on the set for the independent Tally Records label, where Haggard was signed before Capitol. "I'd heard he'd recorded it for Tally, but nobody ever heard it and it was assumed it was lost," Bomar -- who also annotated Omnivore Records' recent Buck Owens reissues -- tells Billboard. "When I started beating the bushes and putting things together, someone handed me a tape box that was just labeled 'Merle' -- I think it was under somebody's bed somewhere -- and said, 'I don't know if anything on here would be of any interest, but check it out to see.' It turned out to be the original version of that song, which is quite a bit different than the Capitol version he recorded a few years later. It was a real find, quite a nice historical glimpse into that moment in the studio."
Großer Raritäten-Alarm rund um eine Bruderlegende – ausgelöst durch Bear Family Productions.
Diesmal also sind die EVERLY BROTHERS mit einer kunterbunten Zusammenstellung von größtenteils bisher unveröffentlichten Studio-Aufnahmen dran, die es als zweiter Outtake bis hin zur 15 Alternativ-Variante nicht auf die offiziellen Alben schafften.
Die beiden in einer musikalischen Familie aufgewachsenen Brüder Don und Phil setzten die musikalische Tradition ihrer Eltern Margaret und Ike, welche als Hillbilly-Musiker eine eigene Radio-Show präsentierten, fort und gelangten mit ihrem Superhit „Bye Bye Love“, nachdem er 1957 auf Anhieb Platz 2 der US-Charts eroberte und zugleich das „Studio Outtakes“-Album eröffnet, Weltruhm. Nun folgte ein Nummer-1-Hit dem nächsten und Millionen-Dollar-Verträge ließen die Brüder auf einer riesigen Erfolgswelle schwimmen.
NATE GiBSON & THE STARS OF STARDAY How to make something new with musical memory? Produced by Nate Gibson, the author of The Star-day Story (Univer-sity Press of Mis-sissippi), this 25-track album was recorded with the support of Marty Stuart and his Fabulous Superlatives and Chris Scruggs.
Nate Gibson. who is also a musician. has selected songs once released on Starday (country, rock-kabilly, bluegrass. honky tonk, gospel. western swing). He re-recorded them half a century after the originals with the artists he convinced to revive these titles, some of which are part of the heritage of any classical country music fan. Thus the presence of Betty Amos, Judy & Jean. Bill Clif-ton, Rudy Grayzeil. Wade Jackson. Sleepy LaBeef, Little Roy Lewis. Jesse McR eynolds, Darnell Miller, Frankie Miller, Arnold Parker, Margie Singleton. June Stearns, etc. gives a good taste of living history without distorting the compositions, with a real dynamism and a flawless sound.
A very beautiful 56-page booklet provides detailed testimonies on this magnificent project. Emotion guaranteed, with Bear Family quality. (JB) (BCD 17588►