Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - theseconddisc
Bakersfield, California is a long way from Nashville – a little under 2,020 miles west, actually. But the distance isn’t quite as great when one considers how much significant country music came out of the city in Kern County. Recent years have seen numerous reissues from legendary Bakersfield artists like Buck Owens and Merle Haggard, as well as a fine exhibit at the Country Music Hall of Fame. But now Bear Family Records has delivered the ultimate tribute to the city’s remarkable legacy of music. The Bakersfield Sound: Country Music Capital of the West 1940-1974 is a beautifully sprawling chronicle of how Music City West came to be, as told via 10 CDs, almost 300 songs, and a definitive, 224-page hardcover tome.
While the sound of Bakersfield came to signify a raw, grittier honky-tonk country style (as opposed to the lush strings and choirs of The Nashville Sound as pioneered in the 1960s by Chet Atkins and others), folk, western swing, and so-called “hillbilly music” all figured into the embryonic Bakersfield Sound Those individual sounds are all explored on the early discs of the box set before local discs cede to the major label releases from Capitol Records and others which drew on the city’s talented artists. Once Bakersfield was established, its artists touched on further genres like rock, pop, and even psychedelia.
Bakersfield, California is a long way from Nashville – a little under 2,020 miles west, actually. But the distance isn’t quite as great when one considers how much significant country music came out of the city in Kern County. Recent years have seen numerous reissues from legendary Bakersfield artists like Buck Owens and Merle Haggard, as well as a fine exhibit at the Country Music Hall of Fame. But now Bear Family Records has delivered the ultimate tribute to the city’s remarkable legacy of music. The Bakersfield Sound: Country Music Capital of the West 1940-1974 is a beautifully sprawling chronicle of how Music City West came to be, as told via 10 CDs, almost 300 songs, and a definitive, 224-page hardcover tome.
While the sound of Bakersfield came to signify a raw, grittier honky-tonk country style (as opposed to the lush strings and choirs of The Nashville Sound as pioneered in the 1960s by Chet Atkins and others), folk, western swing, and so-called “hillbilly music” all figured into the embryonic Bakersfield Sound Those individual sounds are all explored on the early discs of the box set before local discs cede to the major label releases from Capitol Records and others which drew on the city’s talented artists. Once Bakersfield was established, its artists touched on further genres like rock, pop, and even psychedelia.
Presse Archiv - Yulesville! - 33 Rockin' Rollin' Christmas Blasters For The Cool Season - oldtimereviews
Many Christmas compilations are released each year, with most of them boasting the same selection of recordings. The predictable nature of these albums makes them a monotonous endeavour, one that leaves the listener feeling a sense of deja vu every single year. However, there is a new alternative that could shake up your festive listening; especially if you enjoy rarely heard vintage tunes.
German label Bear Family Records have added to their series of seasonal albums by releasing a Christmas themed compilation; featuring 33 tracks released between 1950 and 1963. Nostalgia is a huge seller at Christmas, but will it carry over to a collection of rarely heard vintage recordings?
Many Christmas compilations are released each year, with most of them boasting the same selection of recordings. The predictable nature of these albums makes them a monotonous endeavour, one that leaves the listener feeling a sense of deja vu every single year. However, there is a new alternative that could shake up your festive listening; especially if you enjoy rarely heard vintage tunes.
German label Bear Family Records have added to their series of seasonal albums by releasing a Christmas themed compilation; featuring 33 tracks released between 1950 and 1963. Nostalgia is a huge seller at Christmas, but will it carry over to a collection of rarely heard vintage recordings?
Presse Archiv - Various Artists Tell It To Me - The Johnson City Sessions - oltimereviews
Some of the included tracks here make it seem obvious why the Bristol Sessions are considered seminal and these are not so well known. The Carter Family and Jimmie Rodgers are perhaps more individual in hindsight and their influence can be traced clearly and strong through the generations of future artists and musicians. However, here we find examples of the music of the people, which is as fine and representative of the people of the day living in those rural areas as was the work of the Carters and Rodgers.
There is quite a shortage of female voice here. That is possibly the only thing which sticks out as unusual. Otherwise, the 26 artist names also bring to mind charmingly a bygone world. There are names and song titles which bring vibrancy and life to a time long gone. Despite this evocation, this music feels as fresh today as ever.
Some of the included tracks here make it seem obvious why the Bristol Sessions are considered seminal and these are not so well known. The Carter Family and Jimmie Rodgers are perhaps more individual in hindsight and their influence can be traced clearly and strong through the generations of future artists and musicians. However, here we find examples of the music of the people, which is as fine and representative of the people of the day living in those rural areas as was the work of the Carters and Rodgers.
There is quite a shortage of female voice here. That is possibly the only thing which sticks out as unusual. Otherwise, the 26 artist names also bring to mind charmingly a bygone world. There are names and song titles which bring vibrancy and life to a time long gone. Despite this evocation, this music feels as fresh today as ever.
Press Archive - Carl Perkins - Discovering Carl Perkins - Eastview, Tennesse 1952-1953 (LP, 10inch) - musikreviews
: Der sensationelle Fund von vier Song-Raritäten des Rock'n'Roll-Vaters CARL PERKINS, die noch vor seiner Erfolgszeit bei Sun Records in einem kleinen Studio in Tennessee entstanden und bis zum heutigen Zeitpunkt 70 Jahre lang verschollen waren. Bear Family Records veröffentlicht „Discovering CARL PERKINS – Eastview, Tennessee 1952-53“ nun in absolut angemessener und um mehrere Outtakes erweiterter, remasterter Form auf einer LP im weißen 10inch/25cm-Vinyl und ergänzt diese Ausgabe noch um eine CD mit den digitalisierten Aufnahmen und ein 16-seitiges Begleitheft in Single-Größe!
: Der sensationelle Fund von vier Song-Raritäten des Rock'n'Roll-Vaters CARL PERKINS, die noch vor seiner Erfolgszeit bei Sun Records in einem kleinen Studio in Tennessee entstanden und bis zum heutigen Zeitpunkt 70 Jahre lang verschollen waren. Bear Family Records veröffentlicht „Discovering CARL PERKINS – Eastview, Tennessee 1952-53“ nun in absolut angemessener und um mehrere Outtakes erweiterter, remasterter Form auf einer LP im weißen 10inch/25cm-Vinyl und ergänzt diese Ausgabe noch um eine CD mit den digitalisierten Aufnahmen und ein 16-seitiges Begleitheft in Single-Größe!
Presse Archiv - The Ventures Play Telstar - The Lonely Bull - oltimereviews
Bear Family Records have re-issued 1962 album The Ventures play Telstar – The Lonely Bull as part of their 11000 collectors series. This is a very special reproduction of the 10-inch Japanese pressing, including the hard-to-find rare cover featuring artwork of the group with a space-craft. The 11000 series from Bear Family Records is a selection of limited edition vinyl reissues of rare and sometimes pricey vinyl collectables. The album is available in many forms on several formats, Is this edition worth picking up?
The Music
British listeners may equate the sound and style with being like The Shadows. In so much as The Ventures do instrumental covers of popular songs, this is true. In the cases of some tracks, it feels somewhat like they are capitalising on a trend for background-sound for parties and dances in the early 1960s. Many tracks are of a very similar vein as the library music used in the TV action shows produced by ITC and ATV in the mid to late 60s.
Their interpretation of popular tunes are competent but a little pedestrian. Sometimes the elements can seem like they are more of an exercise in experimenting with different sounds. It all ends up achieving a similar effect to that of the original or best-known version, though, with every number very well executed and enjoyable. The whole album has presumably the desired effect: it is very tempting to get up and get moving. Disappointingly, the renditions still have a rather safe vibe about them.
Bear Family Records have re-issued 1962 album The Ventures play Telstar – The Lonely Bull as part of their 11000 collectors series. This is a very special reproduction of the 10-inch Japanese pressing, including the hard-to-find rare cover featuring artwork of the group with a space-craft. The 11000 series from Bear Family Records is a selection of limited edition vinyl reissues of rare and sometimes pricey vinyl collectables. The album is available in many forms on several formats, Is this edition worth picking up?
The Music
British listeners may equate the sound and style with being like The Shadows. In so much as The Ventures do instrumental covers of popular songs, this is true. In the cases of some tracks, it feels somewhat like they are capitalising on a trend for background-sound for parties and dances in the early 1960s. Many tracks are of a very similar vein as the library music used in the TV action shows produced by ITC and ATV in the mid to late 60s.
Their interpretation of popular tunes are competent but a little pedestrian. Sometimes the elements can seem like they are more of an exercise in experimenting with different sounds. It all ends up achieving a similar effect to that of the original or best-known version, though, with every number very well executed and enjoyable. The whole album has presumably the desired effect: it is very tempting to get up and get moving. Disappointingly, the renditions still have a rather safe vibe about them.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - Now Dig This
FATS RE-BOXED Due for mid-October release from Bear Family Records of Germany is a new Fats Domino box-set, 'I've Been Around - The Complete Imperial & ABC Recordings'. Back in 1993, the company assembled all of Fats' known Imperial rec-ordings of the 1949 - 1962 period onto the 8xCD box-set, 'Out Of New Orleans'. That package has now been completely overhauled and expanded into a 12xCD collection also con-sisting of a DVD (Joe Lauro's acclaimed 'The Big Beat - Fats Domino And The Birth Of Rock n Roll'), together with a 240-page full colour book containing an updated Imperial discog-raphy. "We've found a lot of new material", says a Bear Family press release, "[including] some things that were thought to be lost and other things that nobody knew existed. We have alternative takes that have never before been issued. We've got new unedited and non-overdubbed versions of some familiar Fats songs and newly discovered overdubs of familiar songs.
FATS RE-BOXED Due for mid-October release from Bear Family Records of Germany is a new Fats Domino box-set, 'I've Been Around - The Complete Imperial & ABC Recordings'. Back in 1993, the company assembled all of Fats' known Imperial rec-ordings of the 1949 - 1962 period onto the 8xCD box-set, 'Out Of New Orleans'. That package has now been completely overhauled and expanded into a 12xCD collection also con-sisting of a DVD (Joe Lauro's acclaimed 'The Big Beat - Fats Domino And The Birth Of Rock n Roll'), together with a 240-page full colour book containing an updated Imperial discog-raphy. "We've found a lot of new material", says a Bear Family press release, "[including] some things that were thought to be lost and other things that nobody knew existed. We have alternative takes that have never before been issued. We've got new unedited and non-overdubbed versions of some familiar Fats songs and newly discovered overdubs of familiar songs.
Press Archive - The Best Of Little Richard !! (LP, 10inch, Ltd.) - Music Street Journal, USA
Little Richard
The Best Of Little Richard !! (vinyl EP)
Review by Gary Hill
I know the conventional wisdom is that Elvis Presley was "The King of Rock and Roll." Personally, I've never felt he deserved that title. For me the triumvirate of most important contributors to early Rock and Roll is Jerry Lee Lewis, Chuck Berry and Little Richard. Of the three, I think Richard (I know his real last name is "Penniman," but I'm using Richard as his last name for the sake of this review - and the general alphabetization over the whole publication) was the most consistent (in terms of quality) and important of those three.
It could be argued that Richard has been the biggest influence on rock music for decades. Certainly a lot of his style became tied the genre. His little screams might well be the roots of metal screamers like Rob Halford. Lemmy Kilmister said that he thought Richard was the best rock singer of all time. His flamboyance and style really are rock and roll.
This cool EP captures a dozen Richard classics. It's a disc that manages to stand tall even today. That is just one of the charms of it. This is a 10" record on orange vinyl, and it's well worth having. The music is great, and the packaging really works for this release.
Little Richard
The Best Of Little Richard !! (vinyl EP)
Review by Gary Hill
I know the conventional wisdom is that Elvis Presley was "The King of Rock and Roll." Personally, I've never felt he deserved that title. For me the triumvirate of most important contributors to early Rock and Roll is Jerry Lee Lewis, Chuck Berry and Little Richard. Of the three, I think Richard (I know his real last name is "Penniman," but I'm using Richard as his last name for the sake of this review - and the general alphabetization over the whole publication) was the most consistent (in terms of quality) and important of those three.
It could be argued that Richard has been the biggest influence on rock music for decades. Certainly a lot of his style became tied the genre. His little screams might well be the roots of metal screamers like Rob Halford. Lemmy Kilmister said that he thought Richard was the best rock singer of all time. His flamboyance and style really are rock and roll.
This cool EP captures a dozen Richard classics. It's a disc that manages to stand tall even today. That is just one of the charms of it. This is a 10" record on orange vinyl, and it's well worth having. The music is great, and the packaging really works for this release.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - INK19
Bear Family Productions
It was a study in contrasts for a county music fan during the late ’60s. On the one hand you had “Music City USA” – Nashville, with hits such as “Make the World Go Away” by Eddy Arnold and “Danny Boy” by Ray Price, something called “The Nashville Sound” that morphed into “Countrypolitian”. Produced by Billy Sherrill and Chet Atkins, among others, it was country music – easy listening style. It was as far removed from the hills and farms that birthed the song collections of A.P. Carter and family as was possible. For those longing for the old songs and feel, one had to turn to the coast, where music still played in honkytonks, five sets a night.
That place was called Bakersfield, CA, and is the subject of this grand look assembled by Bear Family, The Bakersfield Sound – Country Music Capital of the West 1940-1974. On the West coast Merle Haggard and Buck Owens ruled the airwaves, record sales and beer joints, stringing up hit after hit, leading the area to be known as “Nashville West” for a time. While the area’s heyday was largely over by the mid-’70s, a quick look at today’s country stars – from Dwight Yoakam to the entire “outlaw country” movement owes a huge debt to folks like Merle Haggard, whose poetic songs captured the plight of the everyman as well as anyone, and Buck Owens, that made a career out of classic country/pop moments, propelled by his ace guitarist Don Rich.
Bear Family Productions
It was a study in contrasts for a county music fan during the late ’60s. On the one hand you had “Music City USA” – Nashville, with hits such as “Make the World Go Away” by Eddy Arnold and “Danny Boy” by Ray Price, something called “The Nashville Sound” that morphed into “Countrypolitian”. Produced by Billy Sherrill and Chet Atkins, among others, it was country music – easy listening style. It was as far removed from the hills and farms that birthed the song collections of A.P. Carter and family as was possible. For those longing for the old songs and feel, one had to turn to the coast, where music still played in honkytonks, five sets a night.
That place was called Bakersfield, CA, and is the subject of this grand look assembled by Bear Family, The Bakersfield Sound – Country Music Capital of the West 1940-1974. On the West coast Merle Haggard and Buck Owens ruled the airwaves, record sales and beer joints, stringing up hit after hit, leading the area to be known as “Nashville West” for a time. While the area’s heyday was largely over by the mid-’70s, a quick look at today’s country stars – from Dwight Yoakam to the entire “outlaw country” movement owes a huge debt to folks like Merle Haggard, whose poetic songs captured the plight of the everyman as well as anyone, and Buck Owens, that made a career out of classic country/pop moments, propelled by his ace guitarist Don Rich.
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.
Presse Archiv - William Clarke Heavy Hittin' West Coast Harp (LP, 180gram Vinyl) - musicstreetjournal
William Clarke
Heavy Hittin' West Coast Harp (vinyl)
Review by Gary Hill
The new LP is a compilation of music from a killer blues artist who was not well-known outside certainly circles. It includes a host of studio recordings along with a live track. There are some definite rarities here. That's true in part because his music is out of print and was never widely released, but also because there is one track that's previously unreleased. There is a healthy mix of blues and jazz here. While the recordings here are not of modern quality expectations, they sound good and really do represent the era in which they were released. The records if a heavy vinyl album with a gatefold sleeve. Overall, this is a great product that's well worth having for blues harp fan
William Clarke
Heavy Hittin' West Coast Harp (vinyl)
Review by Gary Hill
The new LP is a compilation of music from a killer blues artist who was not well-known outside certainly circles. It includes a host of studio recordings along with a live track. There are some definite rarities here. That's true in part because his music is out of print and was never widely released, but also because there is one track that's previously unreleased. There is a healthy mix of blues and jazz here. While the recordings here are not of modern quality expectations, they sound good and really do represent the era in which they were released. The records if a heavy vinyl album with a gatefold sleeve. Overall, this is a great product that's well worth having for blues harp fan
Press Archive - COUNTRY ALL-STARS String Dustin' (LP, 10inch, Ltd.) - musicstreetjournal
Country All-Stars
String Dustin' (vinyl EP)
Review by Gary Hill
Chet Atkins is a legend within and without country music. In 1952 he put together the Country All-Stars and recorded this set of instrumentals (one song has vocals). The music here is all intriguing. While it's billed as country, and there is country at the core of a lot of it, it really transcends that label, wandering into jazz and more. This is quite an intriguing set of music. This new edition is a 10-inch record on orange vinyl. It's also all class.
Country All-Stars
String Dustin' (vinyl EP)
Review by Gary Hill
Chet Atkins is a legend within and without country music. In 1952 he put together the Country All-Stars and recorded this set of instrumentals (one song has vocals). The music here is all intriguing. While it's billed as country, and there is country at the core of a lot of it, it really transcends that label, wandering into jazz and more. This is quite an intriguing set of music. This new edition is a 10-inch record on orange vinyl. It's also all class.
Presse - DYNAMITE MAGAZIN 11/12 - 14 Auflage 15.000 BCD16094
East Tennessee State University
This essay considers the Bristol, TN/VA (1927-1928) and Johnson City, TN (1928- 1929) Sessions recordings released by the Bear Family label, as well as recordings, made by linguist Joseph Hall in the 1930s, of musical performances by residents of the Smokies in eastern Tennessee and west- ern North Carolina. I also consider here a collection of performances, by contempor- ary artists, of songs that Hall recorded in the 1930s. This essay is informed by my experience as a musician who has listened to, played, and written about the string- based vernacular music often called “old time music.” Like others who style them- selves connoisseurs of this music, I have paid careful attention to the content and context of recordings like those I consider here. I am particularly interested in these recordings since they are part of my current local environment; I currently live near the sites of these recordings, my work as a per- former and teacher involves using these recordings, and I work with people who were involved in the production of these collections. I chose these four collections because I am curious about what sense of place they afford other aficionados of old time music. My experiences with these recordings lead me to consider the larger question of how contemporary audiences and producers of old time music consume, engage, and create a sense of place through their music-making (listening, performing, mediating, etc.). As a participant-observer in old-time music-making circles, I have observed that we seem very concerned with place.
East Tennessee State University
This essay considers the Bristol, TN/VA (1927-1928) and Johnson City, TN (1928- 1929) Sessions recordings released by the Bear Family label, as well as recordings, made by linguist Joseph Hall in the 1930s, of musical performances by residents of the Smokies in eastern Tennessee and west- ern North Carolina. I also consider here a collection of performances, by contempor- ary artists, of songs that Hall recorded in the 1930s. This essay is informed by my experience as a musician who has listened to, played, and written about the string- based vernacular music often called “old time music.” Like others who style them- selves connoisseurs of this music, I have paid careful attention to the content and context of recordings like those I consider here. I am particularly interested in these recordings since they are part of my current local environment; I currently live near the sites of these recordings, my work as a per- former and teacher involves using these recordings, and I work with people who were involved in the production of these collections. I chose these four collections because I am curious about what sense of place they afford other aficionados of old time music. My experiences with these recordings lead me to consider the larger question of how contemporary audiences and producers of old time music consume, engage, and create a sense of place through their music-making (listening, performing, mediating, etc.). As a participant-observer in old-time music-making circles, I have observed that we seem very concerned with place.
Presse Archiv - Various Artists - The Bakersfield Sound 1940 - 1974 - MoJo
Various ***** The Bakersfield Sound BEAR FAMILY. 10-CO BOX
How California became Honky Tonk Heaven. In the '60s, Buck Owens and Merle Haggard sang country chart-toppers by the bucket-load, establishing Bakersfield, California, as a direct rival to Nashville. Their music was less showy, more contemporary than that from Music City and would influence country rock and the later Outlaw genre. This superb Bear Family presentation, with a considerable number of previously unreleased studio tracks, radio recordings and demos by artists ranging from Bob Wills to Arlo Guthrie, documents the musical history of the city — from field record-ings made by dust-bowl migrants in the 1940s, up to 1974, when Buck Owens notched his final Top 10 hit and Bakersfield guitar hero Don Rich was killed in a motor-cycle accident. Comes with a lavishly illustrated 230-page hardback book, by award-winning writer Scott B. Bomar with a foreword by Foo Fighter Chris Shiflett. Fred Dellar
Various ***** The Bakersfield Sound BEAR FAMILY. 10-CO BOX
How California became Honky Tonk Heaven. In the '60s, Buck Owens and Merle Haggard sang country chart-toppers by the bucket-load, establishing Bakersfield, California, as a direct rival to Nashville. Their music was less showy, more contemporary than that from Music City and would influence country rock and the later Outlaw genre. This superb Bear Family presentation, with a considerable number of previously unreleased studio tracks, radio recordings and demos by artists ranging from Bob Wills to Arlo Guthrie, documents the musical history of the city — from field record-ings made by dust-bowl migrants in the 1940s, up to 1974, when Buck Owens notched his final Top 10 hit and Bakersfield guitar hero Don Rich was killed in a motor-cycle accident. Comes with a lavishly illustrated 230-page hardback book, by award-winning writer Scott B. Bomar with a foreword by Foo Fighter Chris Shiflett. Fred Dellar
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.