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