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Various - That'll Flat Git It! Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)

Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)
 
 

catalog number: BCD16101

weight in Kg 0,115

 

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Various - That'll Flat Git It!: Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)

1-CD with 40-page booklet, 30 tracks. Playing time approx. 63 mns.


Chicago-based Mercury Records - named after the make of car - was founded in 1945 by Irving B. Green, an industrial engineer who designed the industry's first automatic pressing plant, and Berle Adams, who managed Louis Jordan, the biggest attraction in black music. Promotion was headed by Art Talmadge, later Vice-President of A&R.

Green, whose father owned National Records, noticed that major labels had cut back on minority interest music because shellac, used in record manufacture and wartime munitions, was in short supply. He imported large quantities of the crucial ingredient from India and began concentrating on R&B with a slick, jazz-tinged orientation. The music didn't require much orchestration or arrangement, and money saved on recording costs could be spent on manufacturing, distribution and promotion. A couple of recent R&B boxed sets have served to illustrate Mercury's huge success with that strategy; the label became Atlantic's closest competitor with over 40 R&B hits by Dinah Washington alone.

Mitch Miller's productions for Tony Martin and Frankie Laine added mammoth pop hits to the catalogue and the company was soon firmly ensconced among the five or six major labels. They helped pioneer new techniques like multi-tracking (eg Patti Page's mega-hit, Tennessee Waltz) and marketed some of the first 45s with a zealousness that impressed industry hustlers like Buck Ram. "Mercury was a running company" Ram once confided. "Boy! The minute they smelled a hit they covered all the jocks. They really knew what to do with the satchel." Ram's group, the Platters, had the first R&B hit to reach #1 Pop.

Mercury also dabbled in country music, becoming the first label to appoint a full-time A&R man in Nashville. When Murray Nash, who signed Flatt & Scruggs, resigned in 1951, the company took on Walter D. Kilpatrick, a former marine and Capitol salesman from Kannapolis, North Carolina. (Nash, who joined Acuff-Rose, subsequently pitched songs, including Slip, Slip, Slippin' In, to his successor).

In some ways, Kilpatrick, who supervised sessions by Curtis Gordon, Eddie Bond, George & Earl and Billy Wallace, is the hero of this anthology even though he didn't much care for the music. "I thought it was the Devil's workshop" he told Colin Escott. In common with other major labels, Mercury's executives had difficulty understanding a grass-roots movement like rockabilly and, apart from Love Bug Crawl, none of the records on this set made any impression on the charts.

Kilpatrick was impressed by Elvis Presley ("You know," he told Arnold Shaw "we've been watching this kid. He's dynamite in personals ...") but Irving Green turned down Sam Phillips's asking price. The company also dumped Conway Twitty just before he made it. As Kilpatrick indicated to Escott, the label lacked a commitment to C&W-based music: "I could never get an act off the ground in a really big way .... Country music is an attitude and Mercury was pop and R&B. The sales force wasn't orientated to country - they went where the buck was."

Fifty years on and the Mercury imprint still survives, albeit as a subsidiary of the Dutch-based Polygram company.

Another CD-album from the Bear Family Records - Rock'n'Roll CD series - That'll Flat Git It -


 

Songs

Various - That'll Flat Git It! - Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD) Medium 1
1: Rockin’ Daddy Eddie Bond & His Stompers
2: All The Time Sleepy LaBeef
3: Love Bug Crawl Jimmy Edwards
4: That’s My Reward Billy Wallace & The Bama Drifters
5: (I’ve Changed My) Wild Mind Johnny ‘T’ Talley
6: You’re My Big Baby Now Roy Moss
7: Slip Slip Slippin’-In Eddie Bond & His Stompers
8: Done Gone George & Earl
9: Draggin’ Curtis Gordon
10: What’ll I Do Billy Wallace & The Bama Drifters
11: You Don’t Know My Mind Roy Moss
12: Let’s Get Wild Rudy Grayzell
13: Flip Flop Mama Eddie Bond & His Stompers
14: Yes I Do Royce Porter
15: You’re The One That Done It Thomas Wayne
16: Burning The Wind Billy Wallace
17: Mobile, Alabama Curtis Gordon
18: Corrine, Corrina Roy Moss
19: Boppin’ Bonnie Eddie Bond & His Stompers
20: Lonesome Train Johnny ‘T’ Talley
21: I Can’t Help It Bing Day
22: Mean, Mistreatin’ Baby Billy Wallace & The Bama Drifters
23: Better, Stop, Look And Listen George & Earl
24: Maybelle Jackie Cray
25: Sitting On Top Of The World Curtis Gordon
26: Born To Love One Woman Don Johnston
27: Rock-A-Bye Baby Rock Connie Dycus
28: Sugar Doll Johnny Jay
29: You Nearly Lose Your Mind Roy Moss
30: Dance Me To Death (Vocal The Hi-Liters

 

Artikeleigenschaften von Various - That'll Flat Git It!: Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)

  • Interpret: Various - That'll Flat Git It!

  • Albumtitel: Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)

  • Format CD
  • Genre Rock 'n' Roll

  • Music Genre Rock 'n' Roll
  • Music Style Label Rock & Roll
  • Music Sub-Genre 206 Label R&R
  • Title Vol.11 - Rockabilly From The Vaults Of Mercury Records (CD)
  • Release date 1998
  • Label BEAR FAMILY RECORDS

  • Price code AH
  • SubGenre Rock - Rock'n'Roll

  • EAN: 4000127161017

  • weight in Kg 0.115
 
 

Artist description "Various - That'll Flat Git It"

That'll Flat Git It CD-Album-Series with Rockabilly Music

Classic Rockabilly on CD

That'll Flat Git It!Back in 1992, we had the idea that we should create the all-time definitive Rockabilly CD-Album-Series, That'll Flat Git It! -  Above all, Rockabilly was music recorded for 45RPM singles, so we designed a CD-Album-Serie label-by-label instead of artist-by-artist. And we compiled it for listening pleasure. Just the great stuff, plus a few super rarities.

Every of these That'll Flat Git It CDs would be for the most part a 30 song jukebox of the finest Rockabilly ever recorded for all the great labels. We sourced the very best sounding tapes and took them to the best mastering engineers. On top we took the packaging to a new level.

We adopted the catchphrase of the first Rockabilly dee-jay, Dewey Phillips, 'That'll Flat Git It!', and we hired Bill Millar, who'd compiled the still-classic label-oriented LPs in the 1970s and 1980s, to write the notes. We looked for previously unpublished photos, and tried to find all the artists who'd never been found before.

The result is a truly definitive Rockabilly CD-Album-Serie 

 
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