Gebundene Ausgabe - 418 Seiten - Virgin Books - Englisch Imagine Elvis´s relatives, friends, musical colleagues and business associates - many speaking for the first time - gathering to remember him and swap stories about him. In this close-up and intimate oral biography, that´s just what nearly 150 of them do. Scotty Moore and Bill Monroe recall Elvis´s days of $50 gigs, while musicians like Faron Young and Johnny Cash reveal how tough it was just a year later to follow him on stage at Louisiana Hayride. Girlfriends share cherished memories of moments alone with him, and his closest friends take us inside the gates of Graceland. We see Elvis battling his stage fright at the Ed Sullivan Show, learn of his loneliness as an Army recruit and witness his heart-breaking grief when his adored mother died. Highlighted by never-before-seen photographs, these riveting personal accounts, skilfully interwoven and put into context, paint a unique portrait of the modest, courteous country boy turned superstar entertainer, who even today remains the King to countless fans. `Bob Neal set Elvis up in their office. They had matchbooks and ashtrays and stuff. Anyway I walked in one time, and Elvis had took fingernail polish and painted his phone red.´ `We passed a little black boy with a watermelon stand. He knew who Elvis was but he wasn´t gonna let Elvis know he knew. Elvis asked ´´How much are the watermelons?´´ A price was established and Elvis just turned round and said ´´We´ll take the whole stand - pay him.´´ That´s the only time the kid´s visage cracked. Elvis bought all those watermelons and took them back to Memphis. `Elvis had a thing about someone shooting and killing him for no reason. At my wedding he had five guns on in the church - one close up under each arm, one stuck in his belt, one behind him and one in his boot.´ 5., FAX, ! !!,11Ill´, lit )1), `Elvis told me two days before he died - the last time I saw him: ´´I´ll never see you again. I love you. Take care of yourself. I´ll see you on the other side.´´
(Real Gone) 12 tracks Atlantic 1973, Limited Edition Gold Vinyl. - Doug Sahm’s first solo record was something of a coming out party, a big budget affair that let the world know what the insiders already knew: that Doug Sahm was a quintessentially American musical visionary. After The Sir Douglas Quintet concluded its contract with Smash/Mercury, Jerry Wexler convinced Sahm to sign with Atlantic and brought him to New York for the sessions that were to become Doug Sahm and Band. To call the personnel that Wexler and co-producer Arif Mardin assembled for the album ´star-studded´ is a severe understatement: among the musicians on this 1972 release were Dr. John, David ´Fathead´ Newman, David Bromberg, and Flaco Jiménez (the first in a series of collaborations with Doug); Sir Doug stalwarts Augie Meyers, Jack Barber, and George Rains; and, of course, Bob Dylan, who contributes a hitherto-unheard song (´Wallflower´). It is a testament to Sahm’s boundless talent that all of these stellar musicians wanted to play with him; it’s even more of a testament that despite all of the formidable artists in the room, and despite the fact that Sahm only wrote three of the album’s 12 tunes, Doug Sahm and Band never sounds like anything but a Doug Sahm record. And a hell of a good one, too, highlighted by the anthemic.(Is Anybody Going to) San Antone´ and the brilliant Willie Nelson cover ´Me and Paul´.This turned out to be Doug’s only charting solo album, but he was never about the money. What mattered to Doug was the groove, and this record has it in every one of ‘em. This is the first-ever vinyl reissue of this classic record, limited to 1000 gold vinyl copies. A must for your American music collection.
(2016/Cooking Vinyl) 12 tracks. Jack Palmer, who is 72 and sings choral music regularly for the National Cathedral in Washington DC, says ´´I believe nothing is more powerful than love, and that nothing expresses it better than singing. It was one of Amanda´s songs that began healing our fractured relationship. Years later, I hope the love that went into this project will perhaps touch listeners in the same way.´´ Amanda Palmer and (her father) Jack Palmer are set to release You Got Me Singing, a lovingly put together album, in July 2016. Amanda sings, and plays piano and ukulele, and Jack, a semi-professional choral singer, plays guitar and lends his rich bass voice to a variety of cover songs that span decades. The album was engineered by Joe Costa at Middletree studio in Nashville and recorded at Dreamland Studio in rural upstate New York. ´´The main inspiration behind this record was to share songs and time with my dad´´ says Amanda, who was separated from her father when she was less than a year old, ´´It was a really good reason to spend healing time together, sharing our musical histories, all poetically punctuated by the fact that I was 7 months pregnant when we recorded. I knew that from my post at the mixing desk and the mic, this music was being heard in the womb, and so the song selection was really important... we didn´t want this album to sound corny, we wanted it to sound like the connective tissue between three generations. The songs had to be simple.´´
(Collector´s Choice/EMI-Capitol Music Special Markets) 20 tracks (53:05) 1964-1969. - Welcome to the Golden Age of Dino. While there´s no doubt that Dean Martin was a major entertainer before he ever warbled a note for Reprise, it´s equal-ly true that the recordings collected here are the ones that made the man a super-star. ´We knew he could do it,´ bragged an anonymous label executive in the midst of Dean´s renaissance. ´All we had to find was The Formula.´ The formula was a mellow musical approach that produced dozens of hit albums and singles in the decade between 1962 and 1972. During these years, Dean was the master of all he surveyed: the hottest recording artist around, a major motion picture star, host of a popular television show, and a top draw in Las Vegas. This anthology brings together his 20 biggest hits for Reprise, music that is fully guaranteed to knock your socks off, pally, and put a smile on your face in the process. The world first embraced Dean as the handsome half of the comedy team of Martin and Lewis. Between 1946 and their break up in 1956, they were the biggest thing in show business. Dean made good use of this popularity, signing with Capitol Records in 1948. The label was never quite sure how to maneuver his mellow baritone, and they placed him in a wide variety of musical settings over the next thirteen years. Italian melodies seemed to work best, and Dean found unforget-table success with his recordings of That´s Amore and Ilolare. He even topped the charts in 1955 with Memories Are Made Of This. Still, it seemed he was capable of much more. In 1962, Martin left Capitol and followed his good friend Frank Sinatra to Reprise. (from the liner notes by Joseph F. Laredo )
(2016/Sundazed) 12 tracks. Afro-Asian Exotica! Jungle beats and lush rhythms from the famed film and television composer. An early stereo marvel from the original 1958 tapes! Takashi ´Tak´ Shindo was one of the most prominent purveyors of that gorgeous genre known as Exotica, a magnificent and surreal style of music which took the sounds of cultures at the time unknown or mysterious and blended it into a swingy, sexy stew. As a Japanese-American, Shindo brought a unique cultural perspective to the proceedings -- he combined the sounds of his own heritage into a brilliantly orchestrated shabu-shabu that made him a highly in-demand arranger and composer (Shindo would later become known for his TV scores, including Gunsmoke). Nowadays, we´d call it ´appropriation,´ but at the time Exotica knew no such boundaries -- anybody´s culture and sound was fair game, often leading to unusual and thrilling combinations of sound. Mganga! is Shindo´s exploration of African sounds -- it´s obvious that his knowledge of African and afro-Cuban musical forms was based not only on a knowledge of traditional native music but also from soundtracks and ´´fantasy´´ versions of music from the African diaspora. Drums and congas abound, as do guttural chants and thrilling Cuban rhythms (and the ever-present exotica sound effects!). But Shindo´s own love of Japanese sounds crop up here and there too -- listen for Japanese scales and traditional instruments such as the koto. Modern Harmonic presents the thrilling Mganga! the way it was meant to be heard -- thrillingly mastered from the master tapes, pressed onto gorgeous colored vinyl and wrapped in restored packaging that reproduces the groundbreaking neo-tribal graphics. Pour yourself an exotic cocktail, turn the lights down low and let Tak Shindo take you to his own crazy, sexy version of Africa
(2016/Sundazed) 12 tracks. Afro-Asian Exotica! Jungle beats and lush rhythms from the famed film and television composer. An early stereo marvel from the original 1958 tapes! Takashi ´Tak´ Shindo was one of the most prominent purveyors of that gorgeous genre known as Exotica, a magnificent and surreal style of music which took the sounds of cultures at the time unknown or mysterious and blended it into a swingy, sexy stew. As a Japanese-American, Shindo brought a unique cultural perspective to the proceedings -- he combined the sounds of his own heritage into a brilliantly orchestrated shabu-shabu that made him a highly in-demand arranger and composer (Shindo would later become known for his TV scores, including Gunsmoke). Nowadays, we´d call it ´appropriation,´ but at the time Exotica knew no such boundaries -- anybody´s culture and sound was fair game, often leading to unusual and thrilling combinations of sound. Mganga! is Shindo´s exploration of African sounds -- it´s obvious that his knowledge of African and afro-Cuban musical forms was based not only on a knowledge of traditional native music but also from soundtracks and ´´fantasy´´ versions of music from the African diaspora. Drums and congas abound, as do guttural chants and thrilling Cuban rhythms (and the ever-present exotica sound effects!). But Shindo´s own love of Japanese sounds crop up here and there too -- listen for Japanese scales and traditional instruments such as the koto. Modern Harmonic presents the thrilling Mganga! the way it was meant to be heard -- thrillingly mastered from the master tapes. Pour yourself an exotic cocktail, turn the lights down low and let Tak Shindo take you to his own crazy, sexy version of Africa!
Taschenbuch - 492 Seiten - Omnibus Press - 2010 - Englisch ´Tony Fletcher has demonstrated extraordinary depth in his research and vibrancy in his writing. Not only was I fascinated by his stories of times and styles about which I knew little, but, in those areas in which I knew a lot, he has connected all the dots for me.... ) Oh, yeah, and it´s a damned good read:´ comes an incisive history of New York´s seminal music scenes, encompassing the ways in which the city´s indigenous art, literature, theater, and political movements converged to create such unique sounds, as well as the music´s vast contribu-tions to our culture. With great attention to the characters, from trumpet player Dizzy Gillespie to Tito Puente, Bob Dylan to the Ramones, All Hopped Up and Ready to Go takes us through bebop, the Latin music scene, the folk revival, glitter music, disco, punk, and hip-hop, as they emerged from the neighborhood streets of Harlem, the Village, Brooklyn, the Bronx, and Queens. ´A fly-on-the-wall vantage point to some of the most important musical happenings in popular history, the book is equally as good about covering the city of New York itself and how this amazing city helped influence all of this incredible music. I enjoyed this book almost as much as I originally enjoyed all the music it covered:´ ´With dazzling prose and rich detail, Tony Fletcher brings to life the colorful characters, tortured geniuses, and ambitious visionaries behind a half-century of diverse music brewed in New York City.... [It is] filled with fascinating behind-the-scenes stories and astute musical descriptions that make you want to hear every single song cited in the book´ ´This is the first time I have seen anyone attempt to chronicle the whole of New York´s popular music, and Tony is remarkably successful in his endeavor:´
(2011/ACE) 24 tracks (64:31) with 20 page booklet. - Us Brits take our music very (very) seriously. It is often part of a whole scene which can include fashion, drug habits, social events and in the extreme, a whole ethos. We are very protective of something we put so much time and effort into and criticism goes to the core. The Northern Soul scene started over four decades ago and was never meant to be more than a passing fad. It just got so good we couldn’t bear to let go, or grow up. We still have an emotional attachment to records played by teenagers to teenagers an eon ago. The music was all brand new to us at that time and being brought up in a culture thousands of miles away from its source, we had to make it up as we went along. Knowledge was limited and we had no idea of the circumstances or origins of the recordings. For all we knew, Barnaby Bye could have come straight outta Philly’s black ghetto. Actually, we wouldn’t have cared had we known they had long hair and flares; the beat and sound was all. Dance records were what we wanted. They were usually based on the classic Motown sound, but we veered off up many a dark musical alley. Soul revisionism didn’t happen until the momentum and euphoria finally calmed down in the late 70s. I think all of the tracks on here were first played in the early 70s days of the scene (the Rumblers may have been a bit later) but hardly any of them have been played as oldies since. They’ve been airbrushed from our musical history. These are the ones we’ve removed from the DJ box, but left close to hand for that nostalgia trip. I can understand why more serious music fans look down on some of these tracks, but it really is their loss. Ann D’Andrea is so basic I thought they’d sent a demo take, but what an uplifting bouncy, catchy number it is. I recently had a discussion about David & the Giants with a serious soul fan, who claimed their record’s appeal was down to the Fame studio musicians and production. I’m sure that was him trying to justify his love of it. I think it’s the way the group captured the essence and exuberance of young love that makes it. That same goes for Kiki Dee’s ‘On A Magic Carpet Ride’. As a longhaired left-wing member of the Market Harborough underground in the late 60s, I couldn’t have pictured myself raving about a song featuring ´´rainbow’s end” lyrics in later years. John Fred’s ‘Hey Hey Bunny’ sounds like an early bubblegum record, but what fun and, if you’re a dancer, a great one to burn some energy off to. I beg you to get past the artists and titles that have repelled you for years and give this maligned side of Northern Soul an honest appraisal. If it gets one grumpy soul stalwart skipping across the kitchen to ‘Put Me In Your Pocket’ it’ll all have been worthwhile. (By Ady Croasdell)
English, Paperback, 15.5 x 23.5 cm, ca.560 pages last copies - special price ! Last Train to Memphis is arguably the first serious biography that refuses to dwell on the myth of ElviS. Aiming instead to portray in vivid, dramatic • terms the life and career of this outstanding artistic and cultural phenomenon, it draws together a plethora of documentary and interview material to create a superbly coherent and plausible narrative. The first of two volumes, covering Presley´s rise to prominence up to his departure for Germany in 1958, Last Train to MemphiS will undoubtedly become the benchmark by which other biographies of him are judged. ´Last Train to Memphis´ was hailed on publication as the definitive biography of Elvis Presley. Peter Guralnick´s acclaimed book is the first to set aside the myths and focus on Elvis´ humanity, as it traces Elvis´ early years, from humble beginnings to unprecedented success. At the heart of the story is Elvis himself, a poor boy of great ambition and fiery musical passions, who connected with his audience and the age in a way that has yet to be duplicated. The book also brings to life the world Elvis arrived in, America in the fifties and the people who, together with Elvis, would change that world forever. The first part of a two-volume biography, ´Last Train to Memphis´ traces the first twenty-three years of Elvis´ life, ending somberly in 1958 with his induction into the army and the death of his mother, Gladys. Drawing frequently of Elvis´ own words and on the intimate reflections of those who knew him, this is biography at its best and a classic in the chronicling of our culture.
(King) 12 tracks - Re-issue of the original 1959 ´King´ LP album Big Jay McNeely, the greatest jazz sensa-tion to come out of California since Lionel Hampton, is known to his thousands of fol-lowers as the ´Go! Go! Go!´ boy. He plays a powerful lot of tenor saxophone. In fact, he has been known to devote 45 minutes to blowing hot and sweet in one number. It left him exhausted. A jazz devotee, Big Jay has studied under modern music greats. He has become the new jazz Pied Piper of teen-agers; has been called ´the greatest jazz artist since Louis Armstrong,´ and also, ´California´s hottest showman-saxophonist.´ As Big Jay himself tells it, ´I first came to Los Angeles on April 29, 1927. I did not come there to get into the movies. I just came there to be born.´ His was a musical family. Both parents and two brothers, Robert and Dillard, were musical. But Big Jay was 16 before he ´inherited´ his first musical instru-ment. While attending grade school, Big Jay thought it would be nice to take up the trom-bone. But Papa McNeely took inventory of the bankroll and decided the world would have to do without Big Jay´s trombone toot-ing. So Big Jay went on to Jefferson High School, majored in music (harmony and the-ory), but couldn´t get an instrument to play. Brother Robert had inherited an alto saxo-phone from a cousin. Since he now was em-ployed, he decided to go out and splurge on a tenor. That´s how Big Jay came to ´inherit´ the alto. Shortly thereafter, Uncle Sam sum-moned Robert, and his parting gift to Big Jay was his treasured tenor. That Big Jay made good use of the gift is musical history. He was a 16 year old high school student at the time. He and the tenor became the best of friends. Within six months he organized a 15 piece dance band, ´The Earls Of 44´, after Fatha Earl Hines. Withal, Big Jay lacked confidence in his musical prowess. He appeared in an amateur contest as a comedian—and was hooted off. Hurt, but mostly mad, Big Jay came back the next week. This time he had his sax along. He took second prize. The third week he won first prize with his torrid tenor. Family hardship actually started Big Jay off on his march to fame. His brothers were in the Army. His mother was a complete in-valid. Then his father took sick and couldn´t work. Big Jay had to find a job. He formed a five man combo and went before the Union board for special dispensation. It was grant-ed, and Big Jay went to work at the Club Savoy, but because he was under-age, he had to leave the club between sessions and remain outside as long as he was off the stand. He finished high school while playing such clubs as the Rendezvous, Zanzibar, and Last word. Next thing he knew he was a hit on wax. By 1949, at the age of 22, he was on the national popularity and best-selling lists. H is records have been favorites in pop-ular sales and have been spun in juke boxes and by disk jockeys from coast to coast. Recently, Big Jay´s ´Jazz Concerts´ at Shrine and Olympic Auditoriums in Los An-geles attracted thousands of Southern Cali-fornia teen-agers, who scream, shout, stomp and chant ´Go! Go! Go!´ in mounting ex-citement to his rhythmic rompings. His agon-ized blue notes left them limp, disheveled and white with exhaustion as the perspiring Big Jay sank to his knees, played from a jack-knife position and finally stretched out on his back, still torturing his tenor. Most of Big Jay´s fans are of high school and college age, but the older folks find his music contagious, too. At the Shrine jazz con-certs, one woman came night after night and sat there, just knitting placidly. ´Oh, I feel it, all right´, she said, ´I feel it. It´s all inside.´