CDs

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    In the early 1960s, African American music styles were still hugely diverse, and several regions had their own distinctive style. The West Coast was generally quite pop-oriented, yet the magnificent Bobby Taylor and Alexander Patton prove that there were plenty of deep, soulful singers located in California. Here's another full-tilt collection of the very best that the busiest LA studios had to offer in the early-mid sixties. Quality music from 50 years ago that still moves the feet and the heart. Timeless! SOUL029
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    This box set is a companion piece to the 8CD set From Sacred To Secular: A Soul Awakening, which traced the history of soul music from its earliest antecedents in 1927 right up to the first true soul records released in 1962. Here we continue the story from 1962 up to the end of the decade, covering a large portion of soul music’s Golden Age with 100 tracks by soul’s greatest 60s superstars (from Aretha Franklin to Stevie Wonder) and a whole host of “lesser” names whose contribution to the musical genre shouldn’t be overlooked. The CDs cover all of soul’s many styles from early doo-wop and R&B influenced music to the funk grooves which were to prove so popular in the 70s. Other harbingers of the coming decade can be found here in the first sweet-soul Philly sounds from the Delfonics and Intruders, early funk rock  (Sly & The Family Stone) and Chicago’s renaissance via Curtis Mayfield and the Impressions. But this Soul Chronology differs from almost every other soul selection in that all the tracks on it are taken from live performances rather than vinyl sources.  These sounds are both more immediate and more personal than the records that may well be more familiar to listeners. The production values may be lower than original recordings due to the technological limitations of the period but in their place come the vibrancy of a live act, its intimacy and its raw impact, factors that don’t usually come through via vinyl or CD. And there is no place to hide in a live environment - the musicians and singers are able to show just how talented they were without any added tricks or enhancements that studio producers could offer. So if you want to know just how good the soul musicians and singers in the 60s really were, just check out these CDs. You may be amazed but you certainly won’t be disappointed! These compilation CDs are a true 'must have'…this indispensable music history document…belongs in the record collection of everyone who is fond of music. Rootstime This 4 CD set has been really good to hear. We are treated to the original artists at the top of their game…What better way to spend nearly six hours…A fine release. Keith Scoffham Blues & Rhythm
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    BBC Jazz Club London May 23rd 1964 Memphis Slim p, voc, Pete Blannin b, Eddie Taylor d. I'm Lost Without You I'll Just Keep Singing The Blues El Capitan This Is A Good Time To Write A Song Big Bertha Train Has Gone Going Down Slow All By Myself BR2 Jazz Prisma Brussels February 2nd 1964 Memphis Slim p, voc, Matt "Guitar" Murphy g, Billy Stepney d. The Blues Is Everywhere All By Myself My Gal Keeps Me Crying Matt’s Guitar Boogie I'm Lost Without You Wish Me Well French TV Paris 1964 Memphis Slim p, voc, Unknown d. It's Too Late American Folk Blues Festival Baden Baden Memphis Slim p, voc, Matt "Guitar" Murphy g, Willie Dixon b, Billy Stepney d. I'll Just Keep Singing The Blues American Folk Blues Festival Manchester October 21st 1962 Memphis Slim p, voc, Willie Dixon b, Jump Jackson d. Just A Dream
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    (shipped with booklet & CD inlays but without jewel case) Here’s a selection of cracking R&B instrumentals, and scarcely a chart hit amongst them. Guitar-led rockers from the West Coast, with fiery picking and heavy blues/rock riffs from Johnny Talbot, Travis Wammack and Roy Buchanan and some early fuzzbox action from Lou Josie of the Ho-Dads. There’s Louisiana sounds from Mac “Dr. John” Rebennack and Robert Parker with Mid-West guitar grooves by Tommy Tucker, Freddy King and Little Milton. Up in New York, you’ve got B.B. King, Wild Jimmy Spruill, and King Curtis blowing out on Soul Train. Dave Lewis and The Exotics were from Seattle and there’s even a Canadian group, future comedian Tommy Chong’s Little Daddy & The Bachelors. These are the records Jimi Hendrix, Eric Clapton, Jimmy Page, Dave Davies, Jeff Beck et al were listening to in 1964. RANDB053 Sheer eye-opening delight…Its absolute playability is amazing. There’s little need to press the skip button, just sit back and enjoy. Alan Taylor Pipeline Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
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    1. Sunday Lunch
    2. Off The Wagon
    3. Inner Urge
    4. You Don’t Know What Love Is
    5. Le Roi
    BBC Paris Theatre, London, June 11th 1967
    1. The Whims of Chambers
    2. Le Roi
    3. My Ship
    4. Inner Urge
    5. No Room For Squares
    6. You Don’t Know What Love Is
    7. Don’t Fall Off The Bridge
    BBC Playhouse Theatre, London, October 18th 1967 Dick Morrissey (tenor saxophone); Harry South (piano); Phil Bates (bass): Bill Eyden (drums) Introduced by Humphrey Lyttelton
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    1962 was the peak year for hit records instrumental-style, with no less than 123 discs scoring on the American pop charts. There wasn’t much in the hit parade to interest R&B fans though, apart from King Curtis’s Soul Twist, Booker T. & The MG's Green Onions and James Brown’s Night Train, but that’s where Mighty Instrumentals R&B-Style 1962 comes in. So what was new in 1962? A bit of surf, a bit of funk, a brand new rhythm on Boogie Twist. More slinky organ groovers, uptown dancers and late night smoochers for teenagers to dance to. And there you have it – 58 R&B scorchers with rhythm aplenty. RANDB044 These albums are full of big, fat chugging and swinging bluesy numbers…With their excellent sound and at such good value for money these CDs will delight fans of the genre. Alan Taylor Pipeline  
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    CD One 1.     The Last Time 2.     Mercy Mercy 3.     She Said Yeah 4.     Play With Fire 5.     Not Fade Away 6.     That’s How Strong My Love Is 7.     Get Off Of My Cloud 8.     (I Can't Get No) Satisfaction 9.     (I Can't Get No) Satisfaction 10.   As Tears Go By 11.   19th Nervous Breakdown 12.   Not Fade Away 13.   The Last Time 14.   Paint It Black 15.   Lady Jane 16.   Mother’s Little Helper 17.   Get Off Of My Cloud 18.   19th Nervous Breakdown 19.   (I Can't Get No) Satisfaction 20.   Paint It Black 21.   Lady Jane 22.   Have You Seen You Mother Baby 23.   19th Nervous Breakdown* 24.   Eamonn Andrews Interview*  CD Two 1.     I Am Waiting 2.     Under My Thumb 3.     Paint It Black 4.     The Last Time 5.     19th Nervous Breakdown 6.     Get Off Of My Cloud 7.     (I Can't Get No) Satisfaction 8.     Mercy, Mercy 9.     She Said Yeah 10.   Play With Fire 11.   The Spider And The Fly 12.   Time Is On My Side 13.   I'm Alright 14.   Around And Around* 15.   I'm Movin' On* 16.   Mercy Mercy* 17.   She Said Yeah* 18.   Play With Fire* 19.   Not Fade Away* 20.   The Spider And The Fly* 21.   That’s How Strong My Love Is* 22.   Get Off Of My Cloud* 23.   19th Nervous Breakdown* 24.   (I Can’t Get No) Satisfaction* 25.   Sydney Interview* 26.   Have You Seen Your Mother Baby* Recording quality throughout is excellent apart from tracks marked* which are direct off air  
    1. Idioms
    2. Thomas
    3. Here's That Rainy Day
    4. Sub Cruise
    5. The Rake
    6. Spiritual Blues
    7. Merlin The Wizard
    8. Nardis
    9. Portrait Of A Young Lady
    10. Polka Dots & Moonbeams
    11. Blue 'n' Boogie
    12. Moanin'
    13. Round About Midnight
    14. Coda
    15. Tempo
    16. Calypso Sketches
    17. Count Twelve
    TRACKS 1 - 6 - Joe Harriott (as), Shake Keane (tp), Pat Smythe (p), Coleridge Goode (b), Bobby Orr (d). November 21st, 1964 TRACKS 7 - 11 - Joe Harriott (as), Ian Carr (tp), Michael Garrick (p), Coleridge Goode (b), Alan Green (d). January 2nd, 1966 TRACKS 12 - 17 - Joe Harriott (as), Les Condon (tp), Pat Smythe (p), Coleridge Goode (b), Phil Seamen (d). January 27th, 1961
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    Disc One Hamburg February 28th 1964   1.      Night Talk 2.      Monkey Business 3.      Caber Dance 4.      Lady Day 5.      Wigmore Walk 6.      Honky Tonk 7.      Morning Theories 8.      Yardsticks 9.      Blue Trident 10.  Times Two-and-a-Half 11.  Come Rain or Come Shine 12.  So What 13.  Pastorale d'Hiver 14.  Where's the Fire? 15.  Rustic Gait    Disc Two BBC Sessions 1963-64   1.      Night Talk 2.      It Don't Mean A Thing 3.      Times Two-and-a-Half 4.      Come Rain Or Come Shine 5.      Progressive Gavotte 6.      Rustic Gait 7.      Times Two-and-a-Half 8.      Night Talk 9.      New Orleans* 10.  Improvisation on a Twelve Tone Scale* 11.  Milestones* 12.  Interview* 13.  Honky Tonk* 14.  Three 15.  Clarion 16.  Minky   *tracks 9 – 13 low fidelity recording  
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    Link Wray’s Rumble and Bill Doggett’s Hold It are the only two big hits included on this collection, which puts a deserved spotlight on both long-forgotten records by established artists and on fabulous obscurities by long-forgotten artists. But rest assured, this is a cracking compilation from start to finish, with Southern swamp rock, spicy New Orleans rhythms and Northern city blues. Guitar and sax-led rockers, slinky organ stompers, Latin groovers – all in all, 60 mighty instrumental stompers from 1958, R&B-style. RANDB045 …cracking albums of often rare bluesy instrumentals…sexy, saxy and groovy keyboards aplenty! These fantastic sets are definitely full fat! Brilliant and what value! Dave Peckett Gandy Dancer
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    DISC ONE
    1. Edgar Hayes Fat Meat 'n' Greens
    2. Professor Longhair Tipitina
    3. Chris Powell Mambo Gunch
    4. Mose Allison The Seventh Son
    5. Ahmad Jamal Trio Poinciana
    6. Bill Doggett Hold It
    7. Ernie Freeman Live It Up
    8. Earl King Come On (Pts 1 & 2)
    9. Drits & Dravy Talk That Talk (Pt. 1)
    10. Ike & Tina Turner I Idolize You
    11. Jack McDuff Brother Jack
    12. James Brown And I Do Just What I Want
    13. Roy Montrell Mudd
    14. Sugar Pie DeSanto Can't Let You Go
    15. Al Robinson I'm Leaving You Today
    16. Earl King Trick Bag
    17. Eddie Bo Check Mr. Popeye
    18. The Isley Brothers Teach Me How To Shimmy
    19. Gino Parks Fire
    20. Joe 'Guitar' Morris The Git Back (Pt. 1)
    21. Prince La La She Put The Hurt On Me
    22. Stanley Turrentine Baia
    23. Fabulous Playboys Honkey Tonk Woman
    24. Vernon Harrel Slick Chick
    DISC TWO
    1. James Brown Mashed Potatoes U.S.A.
    2. Billy Stewart Fat Boy
    3. Jimmy Pace Stop My Heart From Crying
    4. Lee Dorsey People Gonna Talk
    5. Ernie K-Doe I Got To Find Somebody
    6. Marvin Gaye Hitch Hike
    7. Pistol Keep On Lovin' You
    8. Porgy & The Polka Dots Say Yeah
    9. Ray Johnson Soul City
    10. Shirley Raymond What a Wedding Day
    11. Fred Lowery Goodbye
    12. Spider Johnson Doin' The Popeye
    13. Huey 'Piano' Smith Talk To Me Baby
    14. Dolores Johnson What Kind Of Man Are You
    15. Turquinettes Tell Me The Truth
    16. Bob Bateman R B Special
    17. James Booker Big Nick
    18. Wallace Johnson Clap Your Hands
    19. Roosevelt Fountain Red Pepper (Pts 1 & 2)
    20. C. Davis Coolin' Out
    21. David Rockingham Trio Joy De Vie
    22. Bobby Mitchell You Got The Nerve
    23. James Brown I've Got Money
    Includes rear inlay and original printed booklet. Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
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    1. Play In
    2. You Are My Sunshine
    3. Satisfaction
    4. Night Life
    5. A Natural Woman
    6. Baby I Love You
    7. Feelgood
    8. Since You've Been Gone
    9. Good To Me As I Am To You
    10. I Never Loved A Man
    11. Chain Of Fools
    12. Soul Serenade
    13. Respect
    14. Play Out
    15. Interview
    May 17, 1968, Swing In, WDR Studio Cologne Aretha Franklin, piano, vocal; Backing Vocals: Carolyn Franklin, Wyline Ivy, Charnessa Jones Baritone Saxophone: David Squire Trumpet: Donald Townes (conductor), Russell Conway, Ron Jackson, Little John Wilson Trombone: Rene Pitts Tenor Saxophone: Donald Waldon, Miller Brisker Piano: Gary Illingworth Guitar: Jerry Weaver Bass Guitar: Rodderick Hicks, Drums: George Davidson
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    THAT WAS THE YEAR THAT WAS: 1963 – The British Perspective by Simon Spillett “There is a new look to British jazz these days. The soloists are still going their own way but against a more saleable framework.” Melody Maker, February 2nd 1963 “Rarely has a new year caught the British jazz scene in such as state of flux.” So began an article in Melody Maker on January 5th 1963, outlining what the paper thought might be likely trends within the music over the coming months. The Trad Boom - for so long the mainstream media idea of what British jazz was all about - it maintained was finally over, while Rhythm and Blues, the new style that had latterly begun to feature in London jazz hot spots like The Flamingo and The Marquee, had yet to truly prove its worth. Elsewhere in the same issue, R&B was the subject of a piece with the provocative strap-line Trend or Tripe, in which figures including Alexis Korner and a nineteen year old called Mick Jagger debated what the music’s likely impact might be in the near future. Having now got its foot firmly in the door of two of the country’s leading jazz clubs, was it possible that with Trad now on the wane, this might be the next real threat for Britain's tight clique of modern jazzmen? Not everyone thought so. To the surprise of some, Pete King, manager of Ronnie Scott's club believed R&B could “definitely assist modern jazz”, adding that when played by jazz musicians the new music “sounds really good.” King's comments were the latest in a series of indications that, after a decade of cool indifference to public tastes, the capital’s modernists were starting to thaw out. Indeed, as the country froze in the grip of the coldest winter since 1947, there were even signs of them melting. “The modernists are beginning to move backwards towards less-complex, more easily assimilated music”, Melody Maker concluded, a prediction borne out by the launch the following month of The Seven Souls, a co-operative band headed by John Dankworth, which aimed to “please the dancers” with “uncomplicated arrangements and a strong beat.” The band’s début gig was a roaring success, with Melody Maker's Bob Dawbarn postulating that the group might even shake the British record industry out of its almost total indifference to local jazzmen. “If [the producers] had heard [them play] Hoe Down they would have had the contracts out on the stage,” he gushed. Sadly, the musicians knew just how unlikely this pipe-dream was. Despite the predictions of writers like Dawbarn and Benny Green (who in an article in Scene magazine in October 1962 had even gone so far to suggest that “the prospects for British modern musicians...so far as recording studios are concerned, are...better than they have been for many years”) things had fallen ominously quiet on the album front. Although Fontana had made some in-roads into recording local modern jazz during the previous two years – signing both Tubby Hayes and Dick Morrissey in 1961 – there was little resulting windfall on other labels. In fact, looking at the number of British modern jazz recordings reviewed in the pages of Melody Maker, Jazz Journal and Jazz News and Review during 1963 reveals the story in stark black and white. MM reviewed a dozen such LPs and EPs, JJ thirteen and JN&R just eight discs, a meagre ratio when set beside the space allotted American albums, and a statistic also somewhat skewed when one remembers that “modern” back in 1963 could still take in certain fringe artists, such as Steve Race. But this wasn't just the old conundrum of local press prejudice – the problem was Britain's modernists simply weren't recording. In fact, in this regard, 1963 was a truly dismal year. Modern jazz recording sessions in London over those twelve months could almost be counted on the fingers of one hand; a couple of Dankworth dates, one by Jamaican guitarist Ernest Ranglin, a session each for Dick Morrissey, Michael Garrick and Joe Harriott, but little else. “The [record] companies have virtually closed their doors to modern jazz,” complained saxophonist Don Rendell in an interview in March, believing “only US records will sell well here.” Painful as it was for men like Rendell to hear this, the record labels had a point. Some thought money an issue; in October of 1963 Ronnie Scott suggested that British jazz might sell if “available on record at prices lower than those charged for American LPs” a suggestion also made more than once that year in Melody Maker's Mailbag (Scott himself briefly tried his hand at record store management, opening a short-lived shop in Soho's Moor Street in May 1963). But this had already been done, disastrously as it turned out, by the SAGA Company back in the late 1950s. A cut in record prices from all the major UK labels - following Purchase Tax relief in January 1963 - hadn't helped much either. No, what was needed was an ingenious way to drip feed the work of London's modernists to the record buying public; in other words – the jazz single. The success of the 45rpm of Stan Getz and Charlie Byrd's Desafinado the previous year (lifted from the Grammy-nominated album Jazz Samba) was all the argument needed to prove that just occasionally modern jazz could find favour with popular taste. And although bossa-nova's insinuating mood of gentle romance hadn't moved everyone who heard it (Jazz News’ critic Patrick James had dismissed it as “a curious Latin-American scrubbing sound”) nobody could deny its commercial potential. For a jazz recording, however diluted, to reach the Top Twenty was nothing short of a minor miracle. Surely Britain’s jazzmen could cash-in too? And so they did – or rather they tried to, with the new Brazilian rhythm inspiring a small wave of singles by British artists over the winter of 1962/63 – Shake Keane, Vic Lewis, Elaine Delmar, Johnny Scott – each hoping that a little of the Getz magic might rub off. A few of the locals even went for the expedient option of refitting existing material to meet the new groove, like Bill Le Sage, whose composition Autumn in Cuba dated back to the late 1950s but whose title – post-October 1962 - now had a delicious irony to it. In spite of their good intentions, none of these discs really hit the spot, with Melody Maker's review of one – Vic Ash's Banco – more or less encapsulating the fate of them all: “haunting on repeated spins but we can't see it scoring highly.” But bossa wasn't the whole story. Other influences were at play too, among the most pervasive that of soul-jazz, a music whose imprint could be felt in the work of several of the newer London jazz groups of the day, such as the John Burch Octet, one of whose members – Graham Bond – had done the impossible, signing a five year contract to EMI that spring. Bond had gone the whole hog, of course, abandoning his alto saxophone – and eventually jazz altogether – in favour of an earthy, R&B-driven mix of Hammond organ and vocals. This new “back to the roots” angle had also thrown a lifeline to those associated with older styles of jazz; Humphrey Lyttelton was now playing things like One Mint Julep alongside his otherwise solid diet of mainstream, while vocalist Beryl Bryden weighed into the singles market with a surprisingly effective version of Bobby Timmons' Blue Note anthem Moanin'. Normally all washboard and Trad, Bryden re-emerged like a female Ray Charles. Crass commercialism was still an ever present trap though, with some of the years British jazz output hanging unashamedly from the coat tails of others; Dave Lee's Five To Four On openly aped Dave Brubeck, and the likes of Laurie Johnson (There's A Plot Afoot) and Ken Jones (Dodgy Waltz) proffered a bastardised reflection of the latest jazz fashions more suited to Come Dancing than the floor of The Flamingo. The well-tried conceit of co-opting the songs of a Broadway show remained popular too, with Tony Kinsey's How To Succeed In Business Without Really Trying notable if only for the absolute mauling the group received when the album was reviewed in Jazz Journal, a critique describing the band as “highly proficient dance band musicians playing at jazz” whose performance was “unforgivably trivial.” However, there remained one British modernist whose work seemed positively unassailable, and it was he who provided what was perhaps the biggest surprise of 1963. Yes, in the same year when Christine Keeler went to bed with John Profumo, Valentina Tereshkova went into orbit and Ronnie Biggs went to ground, Tubby Hayes went pop. Then the éminence gris of British jazz, Hayes' bid for chart stardom began in February 1963, when the saxophonist’s recording manager at Fontana, Jack Baverstock, bolstered by the recent success of his label's release of Take Five, suggested his recent signing take a crack at recording a single. Hayes agreed, taping four potential items, out of which Baverstock plumped for the highly unusual choice of Sally, former property of none other than Lancashire legend Gracie Fields. Nobody has ever quite been able to fathom what informed this selection; was it some sort of in joke? Had Hayes been given the most unlikely piece Baverstock could think of as a challenge? (“There you go, Tubbs! Try and make jazz out of that!”) Was it a reference to the early sixties' cultural fascination with all things Up North? Was Lancashire being played off against Rio De Janeiro? Whatever the reason, to his credit, Hayes had actually managed to transform this most innocuous of English ditties into a rather neat Horace Silver-like arrangement, but beyond that – and in spite of some canny publicity from Fontana and an in-person airing on ATV's otherwise pop-dominated Discs-a-go-go - the record wasn't a success. “This one doesn't stand an earthly,” said Dusty Springfield when she was played the record in Melody Maker's Blind Date that summer. “It's probably well done but I don't like it. It doesn't get anywhere.” Indeed, the fate of Sally seemed to speak volumes about what a naïve folly it had been to ever believe British post-bop could score a commercial hit. The message from the pop world was clear: this is our turf, so leave us to it. With the monopolising force of the Beatles about to break through, advice like this was soon to be rendered academic. Nevertheless, one could see some sense behind the efforts of Jack Baverstock and co. It hadn't all been about sales figures, it had been about keeping the music visible, a point driven home by remembering that not only had 1963 been a lean year for British modern jazz records, it had also been a particularly bad time for modernism on the radio too. For much of the year, players like Tubby Hayes had found themselves shut out of the BBC's popular Jazz Club slot, the after effect of a ban on “weird stuff” initiated by the corporation’s Light Programme the previous spring. “Many of them just don't play ball,” said Jazz Club's producer Terry Henebery at the start of the embargo, shaming the hermetic “take it or leave it” attitude with which many of London's modern jazzmen then regarded their art. The irony was laughable; the very things the modernists had so admired in their American role models – lengthy solos, ambitious original material and harmonic complexity – had actually cost them a valuable part of their already shrinking workload. However, when the ban was finally lifted in the summer of '63, it was clear that something had been learned in the interim, a lesson in part drummed home by the catchy and condensed requirements of the three-minute single. Indeed, it was telling that, on his first appearance on Jazz Club's new Saturday slot that September, John Dankworth had included Hoe Down, the spirited slice of soul-jazz which Bob Dawbarn had predicted would turn heads back at the beginning of the year. There could be no resting on laurels though. “British musicians should try to find something that is individual,” Dankworth remarked in the final weeks of 1963, as if sensing the next great leap forward for UK jazz. “One shouldn't say 'I'm going to make this sound like an American.' To me it should be completely the opposite.” 1963 had been a year of transition then – twelve months in which Britain's modern jazzmen had gone from chasing hits and following fashion to realising their own worth. Where they went next would be quite a story... RANDB043
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    This is a delicious 2CD production with a 28-page booklet choked with information, pictures (the Earl Palmer one is terrific) and a discography that indicates the rhythm pattern associated with the song. The appendix gives instruction on how to speak aloud the rhythm of the beats and tap out the accented beats with your hands (difficult or what?)...Let me assure you on the majority of tracks my foot jumps and I want to dance...The tracks do not appear to be common to the vast amount of PD releases...CD 2 is very interesting with a different feel to your normal run of the mill PD...due to their late 50s/early 60s recording dates...It’s the more obscure tracks...that grab you...The number one and most essential is the quality of the recordings. They are first class and on a personal note, I now have the best copy in my collection of ‘The Freeze’ by Albert Collins. There is a lot to discover and long established collectors will have the opportunity to refresh their musical diet by checking this compilation out. Highly recommended to all. Keith Scoffham Blues & Rhythm R012
  • Africa and Latin America together have moulded American popular music since the beginning of the twentieth century. African influences have led to the development of jazz, gospel and blues while successive waves of dance music from Argentina, Brazil, Mexico, Cuba, Puerto Rico and Jamaica have largely determined its rhythm. Dance forms and musical stylings such as habanera, bolero, tango, rumba, conga, samba, baion, calypso, mambo, charleston, cha-cha-cha, bossa nova and twistall have their origins outside the USA. This compilation aims to demonstrate just how far back the roots of Latin jazz stretch, well beyond the partnership that Dizzy Gillespie forged with Chano Pozo in founding cubop, the post-war marriage of bebop with Cuban music. 8 PAGE BOOKLET INCLUDED RANDB009 Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
  • No artist works in a vacuum. Young men of their time, passionate music lovers who in their formative years had access to an unprecedented range of pop music thanks to Brian Epstein's NEMS record shop, Lennon, McCartney and Harrison listened, borrowed and reshaped quite an array of tracks, processing these borrowings into their own unmistakable sound. Named after their first publishing company, this CD, with accompanying booklet, sheds light on the Beatles' creative process. Listen to these tracks and see how some of the best loved songs in pop music were formed. R015
  • More than any other city in the world, New Orleans has been responsible for shaping the sound of twentieth century popular music. Sweeping statement that may be, but as the birthplace of jazz, funk and arguably rock’n’roll, it really has no other contenders. At the heart of these three widely different varieties of music lies the rhythmic complexity of second line parade drumming. Its two-beat patterns combining military band and Caribbean rhythms underpin the early recordings of Louis Armstrong as much as they do those of Little Richard and James Brown. This compilation highlights some of the distinguishing characteristics found in early New Orleans recordings, not with the intention of picking out the city’s finest jazz and blues recordings but in order to pinpoint styles that would foreshadow later developments in the rhythm and blues field. 12 page booklet RANDB014 Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
  • Manchester Free Trade Hall was host to two concerts on Sunday October 21st 1962 that acted as a catalyst to the nascent British Blues & R&B boom, on the verge of breaking out of its suburban home in Ealing, West London. The shows were promoted by Stockport-based Paddy MacKiernan under the Jazz Unlimited banner and attracted a crowd of around two thousand enthusiasts, who saw the first major concert in Britain to feature American bluesmen. Manchester was the only UK date on the 1962 American Folk-Blues Festival tour and it was attended by blues fans from all over the country through what Paul Jones called ‘the bush telegraph’. With Jones were Alexis Korner and Macclesfield-born John Mayall, plus extraordinarily a contingent of younger fans who had made the trip in a clapped out van from London. Why extraordinary? Because the van contained some of the future superstars of the British scene: Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. The Stones by this time had just a dozen gigs under their belts and Page had recently embarked on the first stage of his career as a session guitarist. David Williams dedicates a whole chapter to the road trip in his book The First Time We Met The Blues. “It must have been around early September 1962 when news filtered down the grapevine…We could hardly believe that real blues artists were going to appear here in our country…were regarded somewhat like mystic gods within our circle…(Jimmy Page) realised that he would not be able to make the journey with us as he was already booked to play a gig with Neil Christian on the Saturday night…it was agreed Jim would travel up by train on the Sunday and we would find space for him in the van for the journey back overnight…Graham (Ackers) was a pretty good driver and soon managed to find his way through Central London to a square ...where we picked up Mick, Keith and Brian.” Keith Richards remembers it differently, “Mick sometimes had the use of his parents’ Triumph Herald at the weekend and I remember we went to see a big blues show in Manchester.” Jimmy Page: “When David Williams told me of the impending visit of the initial American Folk-Blues Festival to England, I was keen to join the pilgrimage to Manchester. It was not only the first time that I would actually see artists like John Lee Hooker and T-Bone Walker perform, but it was also the first time I met Mick Jagger, Brian Jones and Keith Richards, who came with us on the trip. We were all like-minded enthusiasts and in those days we regarded the artists we were going to see as idols.” ABC TV filmed the second show and broadcast it in two parts for its Tempo programme. The recordings (from the Newby collection) are of excellent sound quality and were taken off air by direct line into a Tandberg reel to reel recorder. RANDB059
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    1955-1962

    The music that led to southern soul is just too good to cram into one volume, so Part 2 of Where Southern Soul Began, showcases many more artists who contributed to the birth of the genre. The songs come from all parts of the south of the US: from New Orleans via Miami and from Mobile, Alabama to Memphis and Nashville. Many of these then unsung heroes such as Ted Taylor, Joe Tex, Otis Redding and William Bell, went on to have highly successful careers, and this set gives a valuable insight into the music they were making before the big hits started coming. Other artists featured are more obscure as they made only a few recordings before fading from view. Yet singers such as Steve Dixon, George Hughley and Prince Conley made just as valid a contribution to the beginnings of southern soul.

    The music here inspired the giants of black American music in the sixties. It combines elements of country, R & B, doo-wop, gospel and blues, and retains the ability to move listeners some 50 years on with its emotional intensity and musical power.

    Soul 002 & 017 Where Southern Soul Began 1 & 2 'These two 2-cd volumes are a fine way to trace the roots of what we now call 'southern soul', beginning back in 1954 through to 1962,.I immediately want to deliver a 'star pick' rating to the first volume., ultimately, its clear that the two sets are highly complimentary, excellently presented and really should be sitting together on the record shelves.' STAR PICK***** x2. Bob Cole Basement Group Review

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    Late night, swinging soul and rockin' blues... Tracks that not only accompanied the dance crazes of the time, but also showcase the essential elements that inspired them. The strong recurring bass riff, four-to-the-floor beat, and blasting horns all influenced the tight choreography of The Temptations in Detroit through to the improvised moves of the dancers in the soul clubs of the midlands and north of England

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    Volume Two 1962-1965 African American popular music was mostly known as Rhythm and Blues in 1962, the beginning of the era covered in this collection. But by the end of the period, 1965, the music was universally called Soul. The Chicago music industry exploded with the growth of soul music in this period, producing thousands of records and dozens and dozens of new labels. The two biggest black music labels Vee-Jay and Chess led in the creation of the Chicago soul brand with names familiar and not so familiar: the former with Etta James and Tony Adams and the latter with Gene Chandler and Moss Tolbert. And yet it's the smaller labels that make up the bulk of the Chicago story: Conlo with Jamo Thomas, Blue Rock with Otis Leaville, Ja-Wes with Sandra Stephens and it's here that we explore some of the finest sounds of the era in this collection.

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    The black music scene in post war America was dominated by the emerging urban, electrified R&B scene in Chicago. Nearby Detroit was musically dwarfed, with much of its talent being drawn to the Windy City, but as the 50s drew  to a close, things began to change. Detroit’s population bulge coincided with the consumer boom, making its age profile younger than its neighbour’s. Thousands of southern black migrants were joined by many immigrants from Europe come to work in the automobile industry. Henry Ford’s pay was good, and with plenty of disposable income available for its inhabitants, Detroit became the goodtime capital of the USA.

    Hundreds of bars, clubs and backroom record labels emerged, hosting a tidal wave of new talent. By 1960, although it was still too early for any definitive Detroit sound to be identifiable, the city was developing a lighter, more popular style than neighbouring Chicago. It was spearheaded by a young man from Gladstone Street, whose distinctive Motown sound went on to dominate the 60s pop charts.

    The tracks on this CD represent the cream of this transitional pre-Motown era, when various labels, artists and producers were putting out popular music that they hoped might get noticed and sell enough to make them rich and famous. Back then no one knew that Berry Gordy Jr would emerge victorious and define the Detroit sound for the decade that followed. 'As with previous History Of Soul product reviewed on this site, the selection has been well thought-out and the presentation is top-notch, appeal here going well beyond the core niche of Detroit devotees.' Basment Group B Cole ..STAR PICK***** SOUL013
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    Volume Three presents all their Apollo recordings together with a disc of "5" Royales 1960s cuts, curios and outtakes.

    The "5" Royales were the very first group to merge secular and sacred musical influences into a coherent whole, laying down the future guidelines of soul music. These CDs contain some of the very best early soul and R&B ever recorded and the Royales' music still has the power and the passion to move us all. Long may it continue.

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  • The Weekend Starts Here That was the invite we got when we tuned in to the best music show in the UK, nay, in the world every Friday evening from August 9, 1963 to December 23, 1966. The CD you have in your hands contains 13 tracks from the Animals on RSG, 27 tracks taken off US TV, 9 tracks from French radio, and an interview with Eric Burdon. 3 tracks from August ’65 are by The Animals Big Band; the boys supplementing their stage presence with a brass section - no British band had ever before sounded this close to an American black jump blues outfit. While The Complete Live Broadcasts I zeroed in on the songs, this set captures much of the atmosphere of the group’s live performances. The Animals created dozens of superb tracks across their singles, EP’s and albums between 1964 and 1966 but the best way to experience the group was live. This set is the nearest equivalent to actually being there. Dave Stephens RANDB061