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Link Wray The Swan Singles Collection 1963-67 2-LP 180g

The Swan Singles Collection 1963-67 2-LP 180g
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LP auf SUNDAZED RECORDS von Link Wray - The Swan Singles Collection 1963-67 2-LP 180g Pressed...more

Link Wray: The Swan Singles Collection 1963-67 2-LP 180g

LP auf SUNDAZED RECORDS von Link Wray - The Swan Singles Collection 1963-67 2-LP 180g

Pressed at R.T.I.

Fred Lincoln 'Link' Wray was a man out of time. He lived in the future, waiting for the rest of the music world to catch up. Anticipating vital elements of punk, psych, surf, metal and more well before they happened, he invented large swaths of the basic electric guitar vocabulary. His use of distortion and power chords, in particular, are essential to the rock lexicon. Every 45 he released was another lesson, eagerly studied by fledgling guitarists around the world. About Link's first hit, Pete Townsend said, 'If it hadn't been for Link Wray and 'Rumble,' I never would have picked up a guitar.' Pete's sentiment was echoed by legions of fretboard aficionados.

The Swan Singles Sessions '63-'67 collects twenty-six absolutely primal six-string salvos. From his own 'Jack the Ripper' to covers of Dylan and the Beatles, the intensity never lets up. Sundazed is proud to present this stellar double LP collection sourced from the original Swan mono masters and pressed at R.T.I. on high-definition vinyl Discerning aficionados everywhere agree that when it comes to rock guitar heroes, Link is the MAN. Spin these two LPs and find out why!

Article properties:Link Wray: The Swan Singles Collection 1963-67 2-LP 180g

  • Interpret: Link Wray

  • Album titlle: The Swan Singles Collection 1963-67 2-LP 180g

  • Genre Rock'n'Roll

  • Label SUNDAZED

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Vinyl weight 180g Vinyl
  • Preiscode VL11
  • Artikelart LP

  • EAN: 0090771517814

  • weight in Kg 0.4
Wray, Link - The Swan Singles Collection 1963-67 2-LP 180g LP 1
01Jack The RipperLink Wray
02The Black WidowLink Wray
03Week EndLink Wray
04Turnpike U.S.A.Link Wray
05The SweeperLink Wray
06Run Chicken RunLink Wray
07The Shadow KnowsLink Wray
08My AlbertaLink Wray
09Deuces WildLink Wray
10Summer DreamLink Wray
11Good Rockin' TonightLink Wray
12I'll Do Anything For YouLink Wray
13BrandedLink Wray
14Hang OnLink Wray
15Please Please MeLink Wray
16Rumble '65Link Wray
17Girl From The North CountryLink Wray
18You Hurt Me SoLink Wray
19The FuzzLink Wray
20Ace Of SpadesLink Wray
21Batman ThemeLink Wray
22AloneLink Wray
23Ace Of SpadesLink Wray
24Hidden CharmsLink Wray
25Let The Good Times RollLink Wray
26Soul TrainLink Wray
Link Wray may well have been the loudest rock guitarist I’ve ever heard in a concert setting.... more
"Link Wray"

Link Wray may well have been the loudest rock guitarist I’ve ever heard in a concert setting. Considering that over the decades I’ve also luxuriated in the teeth-rattling fretwork of Roy Buchanan and Dick Dale, that’s saying a whole lot (granted, I’m not a heavy metal devotee). That extraordinary volume boost was a necessity for Wray; a childhood bout with the measles had robbed him of a good portion of his hearing (and some of his eyesight too, for that matter). Dedicated Wray fans didn’t mind a temporary bout with deafness in the slightest following one of Link’s signature shredfests; his pulverizing power chords and screaming staccato lead licks were the very definition of what rock guitar has always been and should forever be, making it a small price to pay. What’s more, Link never stopped epitomizing the concept of cool. He proudly wore a leather jacket and shades onstage well into his 70s, when his demographic peers outside the music business had long since donned cardigan sweaters and settled into comfy easy chairs.

Stardom didn’t come easily for Wray; he and his brothers had to work long and hard to escape the impoverished circumstances of their youth and find a foothold in the music industry. Fred Lincoln Wray, Jr. was the middle musical sibling, born May 2, 1929 in Dunn, North Carolina. Vernon was five years older than Link, born January 7, 1924 in Fort Bragg, N.C., and Doug five years younger (July 4, 1934). The Wray boys did some singing at the same church services where their mother, a full-blooded Shawnee Indian, preached the gospel. Link picked up some early guitar lessons when he was eight from an African American slide specialist called Hambone, who taught him the rudiments of how to play the blues. The Wray family moved to Portsmouth, Virginia during the mid-‘40s, but Link was in no particular hurry to embark on his musical career—he didn’t buy his first electric axe until 1949. Link was drafted in ’51, stationed first in Germany and then in Korea, where he was felled by tuberculosis. Finally back in the U.S. in 1953, he bought a Les Paul guitar and a Premier amplifier and got serious about his playing. But he was never quite able to duplicate the elegant, complex technique of his hero, Chet Atkins, so he developed his own mind-melting attack. Jazz guitarists Tal Farlow, Les Paul, and Barney Kessel and country picker Grady Martin also caught his ear, although he wouldn’t end up playing like any of them either.

The Wrays formed a country band in 1954 to play the rough-and-tumble gin joints around Portsmouth and nearby Norfolk, recruiting their cousin, Brentley ‘Shorty’ Horton, to play bass and provide comic relief with Doug on drums, Vernon on rhythm guitar and occasional piano, and Dixie Neal, the brother of Gene Vincent’s bassist Jack Neal, on steel guitar. They were billed as The Lazy Pine Wranglers for a time, then Lucky Wray (Vernon’s temporary alias, stemming from his gambling skills) and The Palomino Ranch Gang. A connection with pioneering country broadcaster Connie B. Gay in Tidewater, Virginia led to the group minus Neal relocating to Washington, D.C., where Gay had established a popular television program, ‘Town and Country Time,’ hosted by young accordion wielder Jimmy Dean. For all its political sophistication, D.C. was loaded with hillbilly talent and plenty of watering holes in which to showcase it. In addition to the personable Dean, Marvin Rainwater and guitarist extraordinaire Roy Clark were part of the bustling scene. All three of them recorded for producer Ben Adelman, the owner of Empire Studio there (West Virginia native Patsy Cline cut her first demos, long since lost, under Adelman’s supervision with Dean’s Texas Wildcats backing her). Although his legend rests solidly on a legacy of blistering instrumentals, Link’s debut release in January of 1956 for Adelman’s Kay label paired two of his raucous rockabilly vocals, I Sez Baby and the all but incomprehensible Johnny Bom Bonny, as half of an EP that Link shared with the obscure duo of Bob Dean and Cindy.

Adelman indefatigably hustled his finished masters to various labels; he found a home for three country-oriented singles by the considerably smoother-voiced Lucky Wray (It’s Music She Says, Got Another Baby, and Teenage Cutie) at H.W. ‘Pappy’ Daily and Don Pierce’s Starday Records in 1956-57, the last one sub-billing Link and Doug on its label. Starday released the masters through its custom service rather than issuing them on the main label, intending them for regional exposure only with the manufacturing costs paid by the artists themselves. Right in the middle of it all, the TB that Link had contracted in Korea sent him to the hospital in the summer of 1956 all the way until March of the following year. A grueling operation to remove his left lung largely put an end to any serious singing aspirations; from here on, Wray would concentrate on his blazing guitar technique and mostly leave the vocal duties to others, in particular his brother Vernon, whose prospects looked bright once Bernie Lowe and Kal Mann’s Philly-based Cameo Records brought him aboard in mid-1957. The songwriting duo was on a real roll, having penned Elvis’ pop chart-topper (Let Me Be Your) Teddy Bear. Their label was too, scoring its own number one seller that same year with Charlie Gracie’s Butterfly.

As Lowe led the choir-cushioned orchestra, Vernon crooned the Mann/Lowe copyright Remember You’re Mine, issued in June of ’57 after the label flipped the singer’s name so he was billed as Ray Vernon. Cameo even sprang for a full-page ad promoting the single in ‘The Billboard.’ But any hopes of a hit were dashed when Pat Boone covered the tune for Dot, taking it into the Top Ten and leaving Ray’s original in the dust (its bouncy flip Evil Angel might have nicely suited Gracie). Cameo responded to Boone’s cover by replacing Remember You’re Mine with I’ll Take To-morrow (To-day) as Evil Angel’s plattermate; Link’s biting axe was prominent on the new ballad, unlike its sedate predecessor. Cameo tried again with Ray that autumn with the rocking I’m Counting On You, penned by Atlanta-born blues shouter Chuck Willis (1957 was a big year for Chuck; his revival of the ancient blues C.C. Rider for Atlantic, perfectly tempoed for dancing The Stroll, sailed to the top of the R&B charts). This time, Link made his presence felt with a searing solo, and even if the arrangement was a tad rough around the edges, Ray’s encore outing stood as a contender for hitdom yet didn’t quite make the grade.

 

 

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Tracklist
Wray, Link - The Swan Singles Collection 1963-67 2-LP 180g LP 1
01 Jack The Ripper
02 The Black Widow
03 Week End
04 Turnpike U.S.A.
05 The Sweeper
06 Run Chicken Run
07 The Shadow Knows
08 My Alberta
09 Deuces Wild
10 Summer Dream
11 Good Rockin' Tonight
12 I'll Do Anything For You
13 Branded
14 Hang On
15 Please Please Me
16 Rumble '65
17 Girl From The North Country
18 You Hurt Me So
19 The Fuzz
20 Ace Of Spades
21 Batman Theme
22 Alone
23 Ace Of Spades
24 Hidden Charms
25 Let The Good Times Roll
26 Soul Train