(2011/SUNDAZED) 32 analog masters - Gatefold/Klappcover First ever collection of ´60s MGM singles-A&B sides! These days, Sam the Sham and the Pharaohs are best remembered for such infectious ´60s hits as ´´Wooly Bully´´ and ´´Lil´ Red Riding Hood,´´ and for the sartorial splendor of turbaned frontman/organist Sam the Sham (n´e Domingo Samudio) and his bandmates. But the one-of-a-kind Memphis-by-way-of-Texas quintet produced a large and highly original body of R&B/blues/Tex-Mex/garage tunes that established them as one of the greatest singles bands of the 1960s. While the band´s wacky humor and flamboyant visual image may have threatened to brand them as a novelty act, their raw exuberance, rootsy grit and playfully subversive streak made it clear that Sam and his Pharaohs were the genuine article. Throughout the second half of the ´60s, Sam the Sham and the Pharaohs turned out a lengthy string of killer seven-inchers. Many of those singles boasted non-album B-sides that were as memorable as their better-known A-sides. Now, for the first time ever, Sundazed Music has gathered both sides of every one of the band´s original MGM Records singles on this lovingly packaged 2-LP collection. The sizzling set includes such immortal Pharaohs classics as ´´Wooly Bully,´´ ´´Lil´ Red Riding Hood,´´ ´´Ju Ju Hand,´´ ´´Ring Dang Doo,´´ ´´Red Hot,´´ ´´The Hair on My Chinny Chin Chin,´´ ´´How Do You Catch a Girl´´ and ´´(I´m in With) The Out Crowd,´´ along with an amazing assortment of rare non-album B-sides, solo efforts and side projects. These long-out-of-print gems have been sourced from the original MGM masters and sound better than ever!!! ´´I just returned home to cold, frigid Boston from a month in the California desert and the Sierra Nevada to find my copy of your new double vinyl Sam the Sham release, along with the accompanying CD awaiting me at my office. I rushed home from work, beelined it to the basement to clean the LPs (yes, even new albums get the treatment!), and proceeded to listen to the entire set twice (that´s 64 tracks). I was and am amazed at the great sound and the near perfection of your set. I know these old favorites like the back of my hand, but with the better sound (especially on the formerly 45rpm only releases) and the inspired concept of tracking each single A & B in chronological order, I almost felt like I was hearing them for the first time. They sounded THAT fresh! Everything about the packaging is top notch, too: the inner gatefold sleeve layout with the Billboard and Cashbox adverts is great; love Scott´s notes; the bold typeface used on the front cover, paired with the shot of the band playing ´´Monkey See, Monkey Do´´ shouts out as loudly as ´´uno, dos, tres, cuatro.´´ The rear cover with its record labels shows just how prolific the band was. Thanks for including the Sham-ettes´ singles as bonus tracks on the LPs. This vinyl release blows all previous compilations out of the water. The Rhino CD had a different focus and was fine for its time, but your superior concept, packaging and sound should make you and your entire team very proud. I hope Sam is as enthusiastic about this project as this booster is. Just thought I´d let you know. Now I´ve got to get back to some serious fun listening.´´ -Robert Kruse Sam the Sham Archivist
(Klondike) 13 tracks Powerful performance - Live from Summerfest, Milwaukee - Includes the entire WLZR-FM broadcast from 1993 Digitally remastered for enhanced sound quality Dream Theater, live from the Lazer 103 rock stage at Summerfest, Milwaukee on 29th June 1993. Caught in the (live) act during the first leg of their 1993 Music In Progress world tour, Long Island melodic rockers Dream Theater give a powerful and compelling performance at Milwaukee´s Summerfest promoting their landmark second album Images and Words with the classic LaBrie, Petrucci, Portnoy, Myung, Moore line-up. Klondike proudly presents a fascinating document of an iconic band that at long last, had found their perfect frontman and was at the pinnacle of their career. Presenting the entire original WLZR-FM broadcast of Dream Theater live from the Lazer 103 rock stage at Summerfest, Milwaukee WI on 29th June 1993. Professionally re-mastered original broadcast with background liners, band interviews and rare archival photos.
25 original tracks - total playing time - 64:33 On 12 April 1954. Bill Haley and his Comets crowned their first session in New York for Decca Records with a recording of Rock Around The Clock, a novelty song co-written by Haley´s manager Dave Myers (under his pseudonym Jimmy Denight) and Tin Pan Alley veteran Max Freedman. It had been recorded without success by Sunny Dae in 1952, but Haley´s version benefitted considerably from Decca A & R man Milt Gabler´s previous association with Jump Jive star Louis Jordan, and Gabler brought in a sharper sound featuring boldly arranged rim shots from drummer Billy Guesack and a memorable guitar break by Danny Cedrone. Nevertheless it was the follow-up, a cleaned-up version of Big Joe Turner´s lascivious Shake, Rattle And Roll, which eclipsed the song initially and its Top Ten impact forced the re-release of Rock Around The Clock. Strongly promoted in the controversial teenage delinquency movie The Blackboard Jungle - on which Myers acted as technical advisor - it went to No.1 worldwide, was adopted as an instant youth anthem and eventually sold over 22 million copies. Haley. though apparently lacking the good looks and charisma of a genuine teen idol, became a star overnight, together with his trademark kiss-curl. Born near Detroit, Michigan in 1925. Bill Haley grew up in Chester, Pennsylvania where his parents bought a farm. In the early 1940s he started out as a hillbilly act inspired by Elton Britt, trying to launch himself with a yodelling cowboy image. and he played guitar for two years with Cousin Lee´s band before joining Shorty Cook´s Downhomers in 1944. He made his first solo record Candy Kisses in 1945 and toured the Midwest up to the late 40s: ´The style we played way back in 1947, 1948. 1949.´ he reflected later´ was a combination of country and western, Dixieland and the old-style rhythm and blues.´ He returned to Chester worked as a DJ on the new local radio station WPWA, and formed his own band The Four Aces Of Western Swing to continue playing in conventional Northern country-boogie showband style. By 1949 Haley was looking for different directions. and had noticed the success of local bandleader Jimmy Preston whose Rock The Joint was a national hit in the same year. White dance hands like Haley´s generally drew somewhat staid audience reaction but Preston, in common with the R& B-influenced bands led by Lionel ´Flying Home´ Hampton and Paul ´Hucklebuck´ Williams, often elicited wildly enthusiastic crowd responses, encouraged by extrovert soloists playing their instruments lying on their backs or climbing up pianos. Haley began his progression towards this more full-on entertainment by forming the Saddlemen. who added a stronger rhythm, a slap bass and a distinctive jive-talking vocabulary, and came to be billed as The Cowboy Jive Band. Most significantly, the Saddlemen covered Jackie Brenston´s explosive Rocket 88 in 1951, a thrilling chart-topper often cited as the first real Rock & Roll record. Haley´s powerful rockabilly treatment only sold 10.000 copies however, and it was his next record, a convincing cover of Rock The Joint, which really started to kick in on sales, reaching over 75,000. In 1953 Haley took a further leap forward by changing his band´s name to the Comets and recording Crazy Man Crazy, his first national Top Twenty hit with a forceful sound, hip lyrics and the clearest yet forerunner of the dynamism just around the corner Haley then made Rock Around The Clock, of course. starring bassist Al Rex from the original Comets reinforced by two crucial additions in the shape of hot soloists Frank Beecher on guitar and Rudy Pompilli on saxophone. Both contributed instrumental expertise and the vital element of athletic showmanship on stage, which cemented the acfs appeal. The eponymous movie provoked notoriety through teenage riots and Don´t Knock The Rock, another musical vehicle which starred Little Richard and seminal DJ Alan Freed. was an attempt to play down alleged delinquency by equating youthful enthusiasm with previous dance crazes for the Charleston and the Jitterbug. Bill Haley became the biggest attraction in the pre-Presley world of 1955, particularly popular in the UK where he had no competition and where every record he released on Brunswick up to March 1957 reached the Top Twenty His British tour of that year presented him just as he was - married, slightly overweight and rather sedate, in complete contrast to the young Elvis - and
English, Hardbound/Gebunden mit Schutzumschlag, 22.5x28 cm, 608 Seiten/pages, 2.8 kg ! über 600 Fotos aus den Graceland Archiven mit kurzen Kommentaren - Ein Monster Elvis is the greatest cultural force in the 20th century. He introduced the beat to everything, music, language, clothes, it´s a whole new social revolution´´ - Leonard Bernstein OK, so that was going too far. The man who conducted the New York Philharmonic and composed the music for West Side Story should have known better. Elvis simply didn´t ´introduce the beat to everything: but he was the first to acknowledge the roots of his music in blues, gospel, country, and all the other rhythmically based popular music that America had created through the first half of the 20th century. Likewise, the jive-talk language and sharp clothes that were adopted by Elvis and other early rock´n´rollers - and soon taken up by the newly identified generation of ´´teenagers´´ - weren´t invented overnight, but had their basis in the be-bop slang and zoot-suit fashions of big city jazz musicians in the 1940s. Having said that, Bernstein was right about Elvis being an incalculable cultural force. It´s hard now to appreciate the total impact Elvis had on what we loosely call popular culture, that melting pot of music, art, literature, attitudes, and manners that found its most vital catalyst and instigator for change in the America of the last century. And, like Louis Armstrong, Jackson Pollock, Scott Fitzgerald, cowboy films and boogie woogie, Elvis and his music were uniquely American; it just wouldn´t have happened, couldn´t have happened, anywhere else. In that media-driven century that has so recently come to a close, the century of the photograph, motion pictures, and television as well as records and radio, image was all important. The visual record of people and events that burned onto the mass consciousness was more potent than newsprint, more memorable even than the intimate voices of radio pioneers who gave us history as it happened over the airwaves. When his music exploded on an unsuspecting world in the early weeks of 1956, the first impression most people got of Elvis Presley, other than the almost hypnotic atmosphere of ´´Heartbreak Hotel´´, were the black-and-white photographs of the ´´Hillbilly Cat´´ in action. And in many ways the still camera, creating innumerable images frozen for all time, was the medium that defined Elvis as icon throughout the rest of his life. From the image that for millions was the first glimpse of Elvis, mouth open, legs apart it was clear that here was something different. Was he playing that guitar, or making love to it? Those trousers looked like they were going to split at any moment! Was he singing, or shouting? Was this a musical performance or some act of defiant celebration? Actually it was both — when that picture swiftly found its way around the world, the lines were drawn. Things were never going to be the same again. The early television appearances, beamed coast to coast across a stunned-into-silence America, certainly upset a lot of adult folk, and got the youngters on their toes, but these were mere flickering box-in-the-corner images compared to the real thing. Curiously, the combination of the records themselves and an increasing flood of photographs was far more potent propaganda for the rock´n´roll revolution. RCA Records soon caught on to this. Every new signing to the label would have the obligatory picture session for publicity purposes, but from the start they sensed that this kid from Tennessee looked different. The first time he hit their studios in New York City, there was a photoshoot that revealed the strange beauty of the guy, looking into that big black microphone like a million females would want him to look at them. From Arkansas to Australia. bedroom walls were soon covered with that look. Wallpaper manufacturers, along with big band crooners, righteous preachers, teachers, and parents, held up their hands in horror. Compared to TV, still in its infancy, the films were a different matter. Here was a chance for the mass of people, in and outside the US, to see him move for the first time. But his first film, Love Me Tender, was in truth something of an anti-climax as far as seeing the real Elvis was concerned. He played his part convincingly, and brought tears to the eyes of fans when he died at the end, but it was a never-ending chronicle of photographs that recorded the phenomenon that was
1-CD mit 48-seitigem Booklet, 31 Einzeltitel. Spieldauer ca. 65 Minuten. Rockabilly aus den Archiven von Dot Records, reiner, fünfsterniger, hochklassiger Rockabilly der Fünfzigerjahre. Wir finden, dass Rockabilly auf Compact Discs ganz prima klingt. Also nahmen wir uns 1992 vor, die ultimative Rockabilly-Serie aus der Taufe zu heben, ´´That’ll Flat Git It!´´ Ursprünglich war diese Art von Musik ja etwas zur Veröffentlichung auf Singles, darum bauten wir unsere neue Reihe nach Labels auf und nicht nach Künstlern. Und wir setzten alles daran, dass sie ein Genuss für die Ohren wird – mit einem Knaller nach dem anderen, ergänzt durch etliche Top-Raritäten. Jede einzelne der CDs sollte gewissermaßen eine, wenn möglich, 30-Titel-Musicbox sein, mit den besten Rockabilly-Songs, die jemals für all die legendären Labels aufgenommen worden sind. Wir machten uns auf die Suche nach den am besten klingenden Bändern, ließen sie dann von den führenden Mastering-Spezialisten bearbeiten und haben auch in puncto Verpackung neue Maßstäbe gesetzt. Als übergeordneten Serien-Titel wählten wir ‚ ´´That’ll Flat Git It!´´, das verbale Erkennungszeichen des ersten Rockabilly-Discjockeys Dewey Phillips. Für die Zusammenstellung konnten wir Bill Millar verpflichten, der in den Siebziger- und Achtzigerjahren die klassischen Label-Rockabilly-LPs zusammengestellt hat. Außerdem suchten wir unveröffentlichtes Fotomaterial und machten all jene Interpreten ausfindig, nach denen bis dahin vergeblich geforscht worden war. Unterm Strich steht unsere einzigartige Rockabilly-Serie mit insgesamt 27 Folgen. THAT´LL FLAT GIT IT, VOL. 5 Virtually all of the independent record companies that began life in the late 40s and early 50s have disappeared. It´s true that Atlantic Records is still around as an ongoing concern, and logos like Chess, Specialty and Sun still grace the occasional reissue, but, as the labels´ original owners grew tired of the business or simply went bust, the catalogues were sold. Dot Records for instance has been absorbed and its identity lost in several corporate megadeals. During the 50s and early 60s, the label sold millions and millions of records, although--it must be added--the records on this compilation didn´t do much for Dot´s profit picture. Dot Records was launched in January 1950 by Randy Wood as an offshoot of Randy´s Record Shop, his mail order business in Gallatin, Tennessee, some 30 miles northeast of Nashville. Wood, born in McMinnville, Tennessee, left the U.S. Air Force in 1944 and put his savings into an appliance store. Two years later, he converted his business into a record store, and pioneered mail-order record sales via Gene Nobles´ show on WLAC, Nashville. Wood entered the manufacturing business when Nobles discovered R&B singer Richard Armstrong. The two men co-operated on three labels: Randy´s (on which Armstrong made his debut with Gene Nobles´ Boogie ), Record Shop Special which featured bluesman Cecil Gant, and Dot. Dot really hit its stride when Wood stumbled on the formula of having pop artists like Pat Boone cover R&B and country songs. As early as 1955, Dot had cornered almost 15% of singles sales, and Wood was being courted by ABC who wanted a record division (CBS had Columbia and NBC owned RCA). He held out for the big payday, though, which came in 1957 when Dot was bought by Paramount Pictures for $ 3,000,000. Wood stayed on as head of the company. To his credit, Randy Wood was willing to try anything that he felt had an outside chance of making it. That eclectic approach secured a surprising number of left-field hits, and a good number of flops including LLOYD ´COWBOY´ COPAS´s Circle Rock. I don´t know if Copas habitually broke wind after a skilletful of beans, but the cowboy image was something he fostered. He claimed, for instance, to have been born on a ranch in Oklahoma when, in fact, he came from Blue Creek, Ohio. In 1927 he played with the Hencacklers´ String Band; by 1935 he was half of a duo with fiddler Vernon Storer, and in 1945 he joined Pee Wee King´s Golden West Cowboys. The following year, he became King Records´ first bigtime hillbilly act when he broke through with Filipino Baby, although by 1952, his career had slumped. In an attempt at resuscitation, he dropped the name ´Cowboy´ and turned - at the age of 43 - to rock ´n´ roll, sounding as if he´d invented the music. Circle Rock was written by (cue trumpets) Herb Alpert and Lou Adler; it was one of their earliest recorded
(1987/ACE) 14 tracks - The Ikettes: throw their name at your average pop fan and, chances are, the image conjured up will be of a flying mass of hair and legs, with the redoubtable Tina Turner at the helm; but as this album shows, The Ikettes were considerably more than Ike Turner´s dancing girls. Originally known as the Artettes, backing vocalists for the St Louis-based singer Art Lassiter, the original line-up of the group was Robbie Montgomery, Frances Hodges and Sandra Harding. It was these three, who in 1960 provided the torrid chanting behind Tina Turner on her classic tlebut single ´A Fool In Love´, written by Ike with Art Lassiter in mind. When Art failed to show at the studio for the session, Tina was thrust into the spotlight and a new sound was created. Infinitely blacker and more gospel-drenched than any previous hit (excepting Ray Charles´ ground breaking hit ´What´d I Say´. a year earlier), ´A Fool In Love´ (Sue 730) had. by October 1960, peaked at No 27 on the Hot Hundred and No 2 on the R & B charts. Quick to capitalise on a smash hit, Ike formed the Ike and Tina Turner Revue and hit the road minus the Artettes as Robbie Montgomery was heavily pregnant at this time. In what would become standard practice, Ike simply substituted three other girls for the duration. Within three months, her baby born, Robbie rejoined the revue together with Jessie Smith, also a native of St. Louis, and formerly with Vinny Sharp and the Zorros of Rhythm. The line-up was completed 12 months later by gospel singer Venetta Fields, who ran away from home to go on the road with the revue after Ike and Tina Turner played her home town of Buffalo, New York. Venetta´s only previous singing experience had been locally with the Corinthian Gospel singers. In the tradition of Ray Charles´ Raelettes, Ike Turner dubbed Robbie, Jessie and Venetta ´´The Ikettes´´. These three women, with periods in and out of the Revue, formed the backbone of the group for the next five years. Throughout the Ikettes´ existence, a bewildering number of women found their way into the line-up, many only performing live, others on record only. P.P. Arnold, Joshie Armstead, Bonnie Bramlett, Claudia Lennear and ex-Reprise recording artist Pat Powdrill being some of the better known members. As a recording group, the Ikettes hit first time out with the relentless, chugging ´I´m Blue´ (the gong gong song) on Atco 6212. This record featured lead vocals by Dolores Johnson (who at some point, recorded with Ike as Ike and Dee Dee Johnson), backed by Joshie Armstead, Eloise Hester and a prominent Tina Turner. ´I´m Blue´, with its hypnotic ´shoohy-dooby-dooby-do´s´ and hysterical ´´gong-ga-ga-gong-gong yeah´s´´ was an immediate success, hitting No 3 on the R & B listings in January 1962 and No 19 on the pop charts the following month. Three more Atco releases followed, all in a similar throbbing vein, but while none of these set the charts afire, the Ikettes (in various configurations) were kept busy, criss-crossing the nation; an essential element of the Ike and Tina Turner Revue. 1963 brought a couple of singles on the Turners´ own Teena label ´Crazy In Love´´ as Robbie Montgomery and the Ikettes (Teena 1701) followed by ´No Bail In This Jail´ (Teena 1702) basically a re-run of ´I´m Blue´, but replete with demented cackling, courtesy of Tina. By 1964 The Turners had re-located to Los Angeles and were signed. along with various acts from their Revue, by the Bihari brothers to the Modern label. The Ikettes´ debut ´Camel Walk´ (Modern 1003) a fast moving dance craze, didn´t do much. However, their follow-up ´Peaches ´n´ Cream´ (Modern 1005) featuring a Jessie Smith lead, soared up the Hot 100. peaking at No 36 in April 1965. Reminiscent of ´Bread And Butter´, the Newbeats´ smash of the previous year, ´Peaches ´n´ Cream´ was, uncharacteristically. not an Ike Turner composition, but was written by Tommy Boyce and Steve Venet. and produced by Steve, then hot with ´Poor Man´s Son´ by Detroit group The Reflections. Modest hits followed with the stomping ´Fine. Fine, Fine´ (Modern 1008) again from the pens of Boyce and Venet with help from Toni Wine. and the Motownesque ´I´m So Thankful´ (Modern 1011) from the pens of Marc Gordon and Frank Wilson, staff writers for Berry Gordy´s embryonic West Coast operation. Interestingly enough I m So Thankful´, while not a top 40 pop hit. reached No 12 on the R & B listing, enjoying a 3 month run on that chart. The pop hit ´Peaches ´n´