CD auf SUNDAZED RECORDS von BLUES IMAGE - Open Erste inländische CD-Ausgabe des gefragten zweiten Albums der Gruppe, mit´Ride Captain Ride´, als Blues Image 1970 in den Chartbruch ging,´Ride Captain Ride´, die Rauchende Lampe wurde immer angezündet. Aber mit ihrem subtilen Einsatz von Latin Rhythmen ´ mit verlockender Griffbrettarbeit von Mike Pinera und den süchtig machenden Conga-Drums von Joe Lala ´ erwies sich diese Tampa, Fla. combo alles andere als ein One-Hit-Wonder auf ihrem aus dem Nichts stammenden Klassiker Open.
(Polygramm/Mars/WWWF) 14 Lieder (69:04) original klassische Rockmeister 1975-88. Limitierte Zusammenstellung der World Wrestling Federation. Multi-Image CD-Hülle und Inlay (3-D Wechselbild).
(2003/Elvis Unlimited) Photobook by Ger Rijff, Jeanpaul Commandeur & Trevor Cajiao; glossy Paperback, 23x26 cm, ca.120 pages, stunning, mostly unpublished images in b&w and color on high quality paper. - Approximately 150 images from the period 1953-1959 - Rare and previously unpublished photos in both colour and black and white - on stage and candid - Vintage memorabilia and artefacts including: Elvis´ 1953 draft card; Revealing sales documents from Sun Records; Rare EP covers and label shots; ´50s concert tickets; Lyric sheets written out by Elvis while stationed in Germany - ´Memories Of The Hillbilly Cat´ text with quotes form many of Elvis´ contemporaries. New stock copy (Bear Family Records)
(2004 ´Northern Blues´) (45:45/11) Mit seinem zweiten Album entfernt er sich vom Image des Otis-Taylor-Kopierers. Ein Schritt weg von den Experimenten, zurück zu den akustischen Wurzeln und Elementen des Country Blues. Allerdings gibt das kleine Ensemble, mit dem er spielt (bemerkenswert: Joe Filisko, einer der großartigsten und unbekannten Harmonikaspieler), mehr Raum für ausgefeiltere Arrangements. Ein gelungenes und abwechslungsreiches Akustik-Album / With his second release he escapes from the image of being an Otis Taylor clone. One step back to a more tradtional approach to country blues styles. On the other hand, the combo (excellent: Joe Filisko, one of tzhe world´s greatest unknown harmonica players) allows him better arrengements. Nice mix of originals and covers. A fine reord for lovers of basicly acoustic (guitar)sounds. DAVID JACOBS-STRAIN - acoustic gtrs/voc, ANNE WEISS - voc, JOE FILISKO - hca, JOE CRAVEN - mand, PETER JOSEPH BURTT - kora, KENNY PASSARELLI - bass/org, KENDRICK FREEMAN - drums.
(2009/MEMPHIS EXPLORATIONS) Hardcover, 22x29 cm, 106 pages of rare color photos. Introduction I met Judy about five years ago even though we grew up in the same town and have much in common — not the least of which is a love for Elvis. While shopping one day at Nordstrom, where Judy works, a saleswoman noticed my Elvis purse and asked me, ´´Do you know Judy up in petites? She´s an Elvis fan too.´´ Curious, I went up the escalator, looking for a woman who might be my age or older. I put my pink ´´Love Me Tender´´ bag on the counter and asked, ´´Are you Judy? I hear you´re an Elvis fan. So am I.´´ Within minutes, Judy´s warmth and effervescent personality encircled me like a hug and I realized she was no average Elvis fan. We traded Elvis milestones like Elvis fans do when they meet for the first time: How many times did you see him perform in concert? How many times have you been to Graceland? When did you first love Elvis? And then came the bombshell — the revelations that trumped anything I had to offer in my modest Elvis life: Judy not only met Elvis, she kissed him four times, sat ringside for the iconic ´´68 Comeback Special,´´ and was one of those famous ´´superfans´´ who author Jerry Hopkins profiled in his 1971 Elvis biography. And then, almost as an afterthought, she mentioned her photographs. After regaining my composure I realized Judy was what we call in´the newspaper business ´´a good story.´´ I suggested our local newspaper, where I worked at the time, profile Judy in the arts and entertainment section. There she was, in full color, with a big smile on her face, telling her story and talking about her photos. The newspaper reprinted an image of Elvis with his arm around Judy. And here we are today; the book you are holding is the result of that serendipitous meeting at Nordstrom. This book took a lot of coaxing. Judy never gave up her devotion to Elvis, but after he died she moved on with her life, as many of us did. She married a wonderful man named Doug and raised two children. She became an All-Star saleswoman at Nordstrom. And she kept her most precious candids and concert photos tucked away in scrapbooks, hidden at a friend´s house for safekeeping. Although Judy is a member of that small network of Elvis fans who shared candid moments with him in the 60s and 70s, it´s not in her nature to talk about herself. But you´ll soon discover this book has much to offer. Judy´s stories take you back to the time when Elvis was at his peak. She shares hilarious stories about camping out at Graceland, waiting for any chance to see Elvis. She talks about the signed condolence card she got from Elvis and Priscilla when Judy´s mother was killed. And then there are the photographs — some of the most recognizable images in the Elvis world — and not until now is Judy getting the credit she deserves for taking them. Judy taught herself how to take photos so she could keep for a lifetime her memories of Elvis. And now she shares them with you, and even more importantly, puts the images together with the real stories behind them. You´re in for a treat. Carla T. Savalli February 2009
1-CD mit 20-seitigem Booklet, 27 Einzeltitel. Spieldauer ca. 80 Minuten. Bear Familys erste CD mit insgesamt 27 erfolgreichen Aufnahmen von Margot Eskens aus der Zeit von 1954 bis 1957. Als Gewinnerin eines Nachwuchswettbewerbs sang sie zunächst im Chor, bis mit Mutti, du darfst doch nicht weinen ihre erste große Solo-Chance kommt und ein großer Erfolg wird. Ihr Image als ´Saubere Tochter´ verfestigt sich durch diesen und andere Titel wie Mamatschi, schenk mir ein Pferdchen, Peterle und Ich möchte heut´ausgehn und ebnet den Weg für Margot Eskens nächsten Erfolg, Cindy, oh Cindy, ein grandioser Hit im Duett mit Johnny Dane. Rosamunde und Calypso Italiano sind ebenfalls zwei sehr erfolgreiche Duette, gesungen mit Silvio Francesco, dem Bruder von Caterina Valente und - nicht zu vergessen - Margot Eskens Nummer-1-Hit Tiritomba aus dem Jahre 1956.
(2011/Follow That Dream) Hardback, 24.5x24.5cm, 190 pages, a photo book (b&w) by Michael Rose. many unpublished! Aus dieser Sammlung stammt u.a. das Cover für die ´Young Man With The Big Beat´ RCA Box. Ein tolles Buch mit unglaublich seltenen Fotos von Michael Rose, im Vetrieb von Follow That Dream!***** - While producing a documentary about Elvis´ early years, ´´Elvis: Return to Tupelo,´´ I discovered a cache of never before seen Elvis photos from his late spring tour in 1956. These remarkable photos show the singer as he was just on the cusp of becoming a star. They´re wonderful candid shots of him performing, meeting his fans, relaxing between shows at a local arcade and at home with his family in Memphis. It was too late to include them in my documentary but I thought they were great. I shared them with a somewhat skeptical Ernst Jorgensen who I think has seen every Elvis photo ever shot. - ´In the 20 years I have been privileged to work with Elvis Presley CDs and books there have been a number of great discoveries. One was when I was approached by Michael Rose, who said that he had found a treasure of photos from 1956. I have been bombarded with stories that were simply too good to be true, and in many cases, that´s exactly what they were. So with some hesita-tion I asked Michael to send me some samples, and I was absolutely not prepared for the quantity and quality of these historic images. It was one of these situations where you forget all about financial logic, and just KNOW that this has to be shared with all the fans. Since Michael agreed wholeheartedly, we have spent the last 12 months sorting through all the material. I hope the fans love the images and the story as much as I do.´ - Ernst Jorgensen
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