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Eddie Cletro - Flying Saucer Boogie
15,95 €
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13,95 € *
zzgl. 3,99 € Versand

1-CD mit 36-seitigem Booklet, 26 Einzeltitel, Spieldauer 65:13 Minuten. Die kompletten Solo-Aufnahmen dieses einflußreichen, obskuren West-Coast-Künstlers. Das 36seitige Booklet enthält seltene und nie zuvor gezeigte Fotos – eine optische Offenbarung! Die CD enthält seine Songs mit Donn Reynolds , Rose Maddox und Eddie Dean . Eddie Cletro s Karriere gehört zu den ungewöhnlichsten der gesamten Western Music. Er lebte in Los Angeles, hatte keine Hits, dafür aber eine tolle Stimme und eine sehr gute Band, die Roundup Boys . Viele seiner Aufnahmen werden seit langer Zeit von Sammlern gesucht, vor allem die beidseitig starke Single First Class, Second Hand Woman / Flying Saucer Boogie von 1952. Eddie Cletro s beste Zeit waren die frühen bis mittfünfziger Jahre; in einer musikalischen Übergangsphase, als Western Music und Western Swing Bands aus der Mode waren, spielten er und die Roundup Boys sich von Höhepunkt zu Höhepunkt. ´Flying Saucer Boogie´ versammelt alle Aufnahmen von Eddie Cletro für Lariat, Imperial, Sage und Sand – darunter sind der Klassiker First Class, Second Hand Woman, Daniel Boone und andere. Außerdem dabei: Western-Star Eddie Dean s Rock ´n´ Roll Cowboy von 1956 (mit starker Begleitung durch Eddie Cletro und seine Roundup Boys ) und mehrere hervorragende Titel, auf denen die Band der kalifornischen Legende Rose Maddox assistiert, zum Beispiel die rockigen Highlights Wild Wild Young Men und Hey Little Dreamboat . Ebenfalls enthalten ist Eddie Cletro s 1952er-Session für den kanadischen Jodel-König Donn Reynolds , und es gibt sogar die Weihnachtsplatte ´Santa Claus, Jr.´, die Eddie Cletro 1955 mit seiner Tochter Diane eingespielt hat.

Anbieter: Bear Family Recor...
Stand: 19.02.2019
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Glen Glenn - Glen Glenn - Rocks
18,95 €
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17,95 € *
zzgl. 3,99 € Versand

1-CD DigiPac (6-seitig) mit 68-seitigem Booklet, 25 Einzeltitel, Spieldauer 55:49 Minuten. Neben Eddie Cochran ist Glen Glenn wahrscheinlich Kaliforniens populärster Rockabilly-Künstler der 50er Jahre. Eigentlich ein Veteran der fruchtbaren Country-Szene des Bundesstaates, hat Glen Glenn mit seinem Partner Gary Lambert (Gitarre) einige der beliebtesten Rockabilly-Platten aller Zeiten eingespielt, darunter Everybody´s Movin´ und One Cup Of Coffee – beide wurden von so unterschiedlichen Interpreten wie den Stray Cats und Bob Dylan gecovert! Glen Glenn spielte eine Handvoll Singles für ERA und DORE Records in den späten 50er Jahren ein – aber zu seiner Hinterlassenschaft gehören auch diverse Demo-Aufnahmen, unveröffentlichte Titel, Alternativ-Versionen und Live-Tracks aus TV- und Rundfunksendungen. Glen Glenn s Aufnahmen wurden seit den 70er Jahren wiederveröffentlicht, aber man mußte sechs CDs kaufen, um alle Titel zu bekommen – und hatte auf diese Weise unzählige Überschneidungen in der Sammlung. Das ist jetzt vorbei, Bear Family hat endlich die ultimative CD-Planung mit allen Glen Glenn -Einspielungen im Kasten. Die vorliegende CD, kompiliert vom britischen Rock ´n´ Roll-Experten Bill Millar , ist die erste von zwei Discs, die alle Studio-Aufnahmen enthalten werden: seine frühen Country-Demos (mit Ralph Mooney an der Steelgitarre) bis zu den ERA-Einspielungen, die ihn bekannt gemacht haben (inklusive des Knallers Everybody´s Movin ´); seine raren DORE-Aufnahmen aus den späten 50ern und frühen 60ern (darunter das nie zuvor wiederveröffentlichte Suzie Green From Abilene ), dazu diverse Alternativ-Versionen und seltene Studio-Demos – an dieser Zusammenstellung von Studioaufnahmen kommt niemand mehr vorbei. CD Nummer 2 die 2004 erscheinen soll, wird die definitive Live-Compilation, angereichert mit weiteren Alternativ-Tracks. Auch die Verpackung ist ein Volltreffer: in Form eines 64seitigen Booklets, unter anderem mit sensationellen Fotos, die Glen Glenn und Gary Lambert hinter der Bühne zeigen, zum Beispiel mit Elvis Presley , den Maddox Brothers , den Everly Brothers und nahezu jedem Künstler, der während der 50er Jahre an der Westküste auf Tournee gewesen ist. Der Begleittext stammt von Deke Dickerson , der darin lückenlos alles über Glen Glenn s Karriere erzählt. Selbst wer alle bisherigen Glen Glenn -Reissues besitzt, kann sie vergessen! Am besten ab damit in den nächsten Second-Hand-Laden und stattdessen diese Mega-Veröffentlichung besorgen – in gewohnter Deluxe-Qualität von Bear Family, klanglich und was die Ausstattung betrifft.

Anbieter: Bear Family Recor...
Stand: 16.04.2019
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Hank Snow - Singing Ranger Vol.2 (4-CD)
59,95 €
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54,95 € *
zzgl. 3,99 € Versand

4-CD Box (LP-Format) mit 15-seitigem Buch, 112 Einzeltitel. Spieldauer ca. 297 Minuten. Die zweite CD-Box in unserer Hank Snow -Reihe setzt bei ´I´m Moving On´ an und schreibt die Geschichte weiter bis ins Jahr 1958. In dieser Zeit entwickelte sich Hank zu einem der nachhaltigsten Verfechter traditioneller Country Music und verteidigte seine Musik gegen die Angriffe des Rock ´n´ Roll. Zwar landete Hank weniger Hits als früher, die musikalische Qualität blieb jedoch stets hoch. Die 112 Titel dieser Box enthalten seine Instrumentalalben (darunter seine Duette mit Chet Atkins ), eine seltene Single für den kanadischen Markt ( Squid Jiggin´ Ground / New Blue Velvet Band ), 23 zuvor unveröffentlichte Aufnahmen und unvergessliche Hits wie Cryin´ Prayin´ Waitin´ Hopin´, I´m Movin´ In, These Hands, Hula Rock, The Party Of the Second Part und Big Wheels.

Anbieter: Bear Family Recor...
Stand: 19.02.2019
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TAIL DRAGGER - American People
15,95 € *
zzgl. 3,99 € Versand

(1998 ´Delmark´) (60:02/11) Mit seiner ungeschliffenen Art, den Blues zu singen, erinnert er entfernt an Howlin´ Wolf. Sein Blues ist rauh, seine Texte bissig. In ´American People´ setzt er sich mit der sozio-kulturellen Situation in den U.S.A. auseinander. Ein gutes Album Tail Dragger (born James Yancy Jones in Altheimer, Arkansas) strides into Smokedaddy´s on Division Street like a politician greeting his loyal constituency. He towers over the crowd in his cowboy boots and Stetson, shaking hands and shouting his trademark ´Whatchusay!´ welcome. ´American People´ is the second number of the set, and he hits it off with obvious relish. He pleads on behalf of Bill Clinton and admits to some indiscretions of his own. He asks people for understanding on both of their accounts. We all have done wrong, says the Tail Dragger. Forgive Bill. Forgive me. Mercy! Tail Dragger has remained a presence on Chicago´s west side blues circuit for many years, playing at The 5105 Club, The Rat Trap, Dave and Thelma´s, Mary´s Lounge, The Delta Fishmarket, at 345 S. Pulaski and others. He´s often been compared to Howlin´ Wolf and after listening to American People you´ll understand why the Wolf himself once said of Tail Dragger, ´One day this boy gonna take my place.´

Anbieter: Bear Family Recor...
Stand: 06.04.2019
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David Jacobs-Strain - Ocean Or A Teardrop
16,75 €
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9,95 € *
zzgl. 3,99 € Versand

(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.

Anbieter: Bear Family Recor...
Stand: 06.04.2019
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Tony Allen - Here Comes The Nite Owl! (CD)
15,95 € *
zzgl. 3,99 € Versand

(ACE) 26 tracks (65:59) 1954-1961 with 12 page booklet. - Obwohl weniger bekannt als seine Zeitgenossen Jessie Belvin oder Richard Barry nahm Tony Allen für eine Vielzahl von Labels großartigen, coolen Westcoast R&B auf. Hier gibt es seine Aufnahmen für Specialty, Ebb, Crown/Kent, Modern, Dig und Ultra. Starke Scheibe! - Tony Allen should have been a contender. New Orleans-born, Los Angeles raised Anthony Penia Allan cut one of the all time great 45s of doo-wop, ‘Nite Owl’, at his first important recording session. It was immediately huge in his adopted hometown, and was just about to break nationally when Allen decided to move from Specialty, for whom it was recorded – to another label. Despite having a potential hit on its hands Specialty withdrew its support for ‘Nite Owl’ and for its budding superstar. The record didn’t chart and Tony Allen’s career never really ignited thereafter. Always hungry for a hit, Allen hopped from label to label throughout the second half of the 1950s, recording for just about all of the most important imprints in and around the Los Angeles area in his quest for instant success. His reluctance to stay contracted to any given label, if things were not working out as quickly as he wanted them to, certainly didn’t work in his favour from a career-building standpoint. But the records Allen cut between 1954 and 1962 showed that he definitely had the talent to become a big star, even if his abundant desire for that to happen overnight often resulted in rapid contract termination. Tony Allen recorded for around a dozen labels in a little less than seven years. Ace’s ´´Here Comes The Nite Owl” – named for his career song – gathers together all of his surviving work for just four of them, namely Dig/Ultra, Ebb, Kent/Modern and the aforementioned Specialty. Several rare singles are included along with the Crown album ´´Rock And Roll With Tony Allen And The Night Owls”. Individually and collectively, the tracks give a picture of a highly talented vocalist who could cut it just as cleanly on up-tempo rockers as he could on lugubrious doo wop ballads. There’s plenty of both types of material on show here, and all tracks are presented from the original master tapes. Of course, Tony was by no means the only kid on his particular block who could do this, but one can’t help feeling that, had he allowed only one label to develop his career rather than move from company to company on what must often have been little more than a whim, he might be regarded with the same sort of worldwide admiration as his peers Jesse Belvin and Richard Berry, rather than just as the man who gave the rock ‘n’ roll world ‘Nite Owl’ and a few other goodies. The bootleggers already made hay, down the years, with a hefty chunk of Allen’s catalogue. However, more than two-thirds of the sides featured on this, the first ever 100% legit Tony Allen CD, here have never been digitised before, and several have never been issued at all. It’s been a long time coming, but those who continue to write and e-mail us for more vintage rhythm & blues releases will surely be glad that the ‘Nite Owl’ is finally making a well-deserved appearance in the Ace catalogue. By Tony Rounce

Anbieter: Bear Family Recor...
Stand: 06.04.2019
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The Routers - A-Ooga!!! Stamp & Shake With The ...
17,95 € *
zzgl. 3,99 € Versand

(2012/ACE) 27 tracks 1962-64 (4 unissued) with 20 page booklet. Limited Edition (1.500). - Most UK football fans would be surprised to learn that one of the most instantly recognisable hand-clapping chants heard throughout England’s soccer grounds during the 60s was created by two brothers born on a small farm in rural Illinois, Lanny and Robert Duncan. Having settled in Los Angeles, Lanny was signed by A&R man Joe Saraceno, who was looking for likely pop stars in the early 60s teen idol mould. Lanny was not only a pop star in waiting but, when paired with songwriting partner Robert, also a source of catchy instrumentals, such as the Routers’ ‘Let’s Go’ – an irresistibly infectious tune delivered by the twangy guitar of Tommy Tedesco, the rasping sax of Plas Johnson and the big beat of drummer Earl Palmer. Layered on top of everything was the most maddeningly contagious sequence of handclaps that virtually begged you to clap along. And the world did. Joe Saraceno and his right-hand man, writer and musician Michael Z Gordon, had already scored a couple of instrumental hits with their independent productions released on Liberty under the name of the Marketts. The duo had everything at their fingertips to create more of the same, top arrangers Ernie Freeman and Rene Hall and the cream of LA session guys were on call. They had so many good commercial ideas that they created a second vehicle for their productions under the name of the Routers. Saraceno took the master for ‘Let’s Go’ to Joe Smith at Warner Bros and watched as the disc rose to #19 towards the end of 1962, and then make it up to #32 early the following year in the UK. Saraceno preferred his easygoing relationship with Smith and so transferred the Marketts’ future releases to Warner Bros (the best of which can be heard on their Ace CD ´´Outer Space, Hot Rods & Superheroes” CDLUX 006). As well as providing ideas, helping with arrangements and production and writing some of the material, Michael Z Gordon also took charge of promotion by leading several line-ups of touring musicians (including Scott Walker at one time) out on the road as both the Marketts and the Routers. In the CD booklet Michael recalls some of his experiences on the road. He also very kindly provided several photos of the touring bands he led, several of which have not been seen before. ´´A-Ooga!!! Stamp & Shake With The Routers” collects together the band’s best recordings, including the hits ‘Let’s Go’ and ‘Sting Ray’, all of the rare non-LP 45s and highlights from their four albums. Best of all, there are four unreleased tracks which we are delighted to present here for the first time anywhere. We confidently declare it the best Routers CD ever. Dave Burke Pipeline Magazine

Anbieter: Bear Family Recor...
Stand: 06.04.2019
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Elvis Presley - Elvis Presley (CD, EU Version)
21,95 € *
zzgl. 3,99 € Versand

(1999/BMG) 18 tracks - Original 1956 album remastered plus 6 bonus tracks! Elvis´ earliest RCA sessions in January 1956 gave producer Steve Sholes one mega hit single, ´Heartbreak Hotel,´ and as many as ten songs that he considered unsuitable for future singles. Elvis was recording for RCA in the same manner as he´d recorded for Sun. He was trying this, trying that, playing favorites. The norm for country sessions in those days was four songs in three hours, but Sholes. who was not only the producer but the manager of RCA´s country division, had shrewdness enough to know that he shouldn´t try to fit Elvis into that straitjacket. He also had the foresight to plan an album before it became clear that ´Heartbreak Hotel´ would be a mega hit. Six months before Shales had acquired Elvis´ contract from Sun for RCA. he had purchased Jim Reeves´ contract without acquiring his old masters. This proved to be a mistake when old recordings began appearing in competition with his new RCA recordings. So, when Sholes acquired Elvis´ contract from Sun, he insisted that the back catalog be part of the deal. This gave him almost 20 more recordings. By the end of January 1956 then, Sholes had stockpiled almost enough recordings for two albums without even knowing that ´Heartbreak Hotel´ would be a hit. In fact, the betting around RCA was that it wouldn´t. ´Heartbreak Hotel´ was released on January 27, and there were five agonizing weeks before it charted. By then, Sholes had the first album ready. It´s true that the last Sun single, ´I Forgot To Remember To Forget,´ had just vacated the No.1 spot in the Country charts, but the record business, particularly the Country record business, was still singles-driven, and it was almost unheard-of for an artist with two Country hits and no Pop hits to have an album. Although this album appeared just as ´Heartbreak Hotel´ was charting, it included neither ´I Forgot To Remember To Forget´ nor ´Heartbreak Hotel.´ Perhaps it was RCA´s lack of faith in ´Heartbreak Hotel´ that led Sholes to omit it, perhaps it went hand-in-hand with the prevailing philosophy that saw singles and albums as completely separate entities. ELVIS PRESLEY almost perfectly mirrored Elvis´ taste. Only Gospel music went unrepresented. There were current Rock´n´Roll-Rockabilly hits and almost-current Rock´n´Roll-Rockabilly hits (´Blue Suede Shoes,´ ´Tutti Frutti´), R&B classics (´I Got A Woman,´ ´Money Honey,´ ´I´m Gonna Sit Right Down And Cry (Over You),´ Country standards (´I Love You Because,´ ´Just Because´), Pop standards (´Blue Moon´), original songs submitted before the sessions (´I´m Counting On You,´ ´One-Sided Love Affair´), and wholly obscure songs that Elvis plucked from his vast reliquary. The latter included a sentimental Country ballad with a bluesy Rockabilly ending, ´I´ll Never Let You Go (Little Darlin´),´ that Jimmy Wakely had written for Gene Autry in 1941, and ´Trying To Get To You,´ a fleeting 1954 R&B hit for a Washington, D.C.-based R&B vocal group, The Eagles. Five of the songs, ´Blue Moon,´ ´Trying To Get To You,´ ´I Love You Because,´ ´I´ll Never Let You Go,´ and ´Just Because,´ were unreleased Sun recordings. Those 12 original titles are now joined by Elvis´ then-current hits, ´I Forgot To Remember To Forget´ and ´Heartbreak Hotel´ b/w ´I Was The One,´ and three other songs from those January 1956 sessions. ´My Baby Left Me´ was a mellow, rural Arthur ´Big Boy´ Crudup Blues bopper from 1950. Elvis´ twitchy energy transforms it into a sweet postscript to his Sun recordings - pure Rockabilly! ´Shake, Rattle, And Roll´ and ´Lawdy, Miss Clawdy´ had been early fifties R&B-Rock´n´Roll hits for Big Joe Turner (and of course Bill Haley) and Lloyd Price respectively. ´We didn´t have any new material that suited Elvis.´ Sholes wrote to Colonel Parker after the session, ´so we recorded ´Lawdy, Miss Clawdy´ and ´Shake. Rattle And Roll.´ Neither of the two will be suitable for single release, but I know they will make good selections for the second album.´ Incredibly, Sholes was already thinking of the second album a month before ´Heartbreak Hotel´ charted. Elvis´ sound would change over the next few months, though, prompting Sholes to call for all-new recordings on the second album. In June, ´Shake, Rattle, And Roll´ and ´Lawdy, Miss Clawdy´ were released on an EP. The cover shot, taken when Elvis appeared at the Fort Homer Hesterly Armory on January 31, 1955, was the work of Tampa photographers Robertson &

Anbieter: Bear Family Recor...
Stand: 06.04.2019
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Various - Country & Western Hit Parade - 1960 -...
16,95 €
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14,95 € *
zzgl. 3,99 € Versand

1-CD-Album DeLuxe mit 72-seitigem Booklet, 32 Einzeltitel. Spieldauer: 82:43 Minuten. By 1960 the folk boom of the previous year had died. Nashville, for the greater part, continued to produce records with ´´crossover´´ appeal that would provide sales greater than normally afforded a straight country hit. The Nashville Sound was established and creating such smooth recordings as You´re The Only Good Thing (That Happened To Me) (George Morgan), The Tip Of My Fingers (Bill Anderson), Please Help Me I´m Falling (Hank Locklin), He´ll Have To Go (Jim Reeves) and Floyd Cramer´s instrumental Last Date, though Bob Luman´s uptempo take on the state of country mortality - Let´s Think About Livin´ - also found success with both country and pop buyers. Nashville was booming. According to a Time (magazine) report, ´´it had nosed Hollywood as the nation´s second biggest (after New York) record-producing center´´ . The city also boasted 100 music publishing companies and 1000 members of the local musicians´ union. But Music City had a fast growing rival, Bakersfield, and its soon-to-be-leader was Buck Owens, whose Above And Beyond would open up the pathway to a mass of number ones. George Jones, Marty Robbins, Hank Snow, Ray Price, Faron Young and Hank Thompson continued their chart careers in their own inimitable manner, veteran Cowboy Copas scored his first ever chart-topper with a revival of Alabam, Charlie Ryan & the Timberline Riders had his only chart success with the iconic Hot Rod Lincoln, and Loretta Lynn was first heard via her chart debut I´m A Honky Tonk Girl. Nach dem Erscheinen der Folgen mit den Jahren 1945 bis 1955 stand bereits fest: Diese Serie ist das Nonplusultra, großartig aufgemacht und mit perfektem Mastering - typisch Bear Family also! Mehr noch: Jack Clement, der Johnny Cash, Roy Orbison, Waylon Jennings, Don Williams und viele andere produziert hat, sagte: ´Dies ist fraglos die beste Country-Serie der Musikgeschichte, kein Zweifel!´ Und Robert Hilburn schrieb in der ´Los Angeles Times´: ´Dieses unschätzbar wertvolle Album-Projekt...ermöglicht es den Fans so zuzuhören, wie es schon Elvis Presley, Ray Charles und Bob Dylan taten.´ Jetzt geht es weiter mit den Jahren von 1956 bis 1960, jede CD ist randvoll. Alle Booklets sind ausführlich und stecken voller seltener Fotos und Abbildungen, dazu gibt es Erläuterungen zu jedem einzelnen Song. Die Hits sind ergänzt um Raritäten, die die Country Music - und die Musik generell - in den Folgejahren beeinflusst haben: zum Beispiel Wanda Jackson s Originalversion von Silver Threads And Golden Needles , Carl Belew s Original von Lonely Street und Chet Atkins ´ wegweisendes Walk, Don´t Run . Diese Serie ist konzipiert, um neue Hörer für das Beste zu gewinnen, das die Country Music je anzubieten hatte, aber auch um alte Fans bestens zu unterhalten. Jede einzelne CD steht für eine wunderbare Zeitreise. Wie alles begann: Seit vielen Jahren erhielten wir immer wieder Anfragen nach einer definitiven Country-Serie. Und nachdem unsere chronologisch sortierten R&B-/Soul-Reihen ´Blowin´ The Fuse´ und zuletzt ´Sweet Soul Music´ (denen sich demnächst ein Projekt zur Funk Music anschließen wird) zu Riesenerfolgen wurden, haben wir entschieden: Das machen wir in vergleichbarer Form auch für die Country Music! Die ersten Folgen von ´Dim Lights, Thick Smoke And Hillbilly Music´ befassten sich mit den Jahren 1945 bis 1955 - jetzt setzen wir die Reise fort und bewegen uns dabei Richtung Nashville Sound. Die Serie wurde auf Fans von heute zugeschnitten. Natürlich enthält sie die großen Hits, aber ebenso gibt es klassische Aufnahmen, die es damals nicht nach ganz oben geschafft haben und dennoch später einflussreich wurden. Jede CD glänzt mit beispielhaft detaillierten Erläuterungen aus erster Hand sowie mit sensationell seltenen Fotos. Und es wird aufgezeigt, wie sich die Country Music kontinuierlich weiterentwickelte, während es in anderen Bereichen des amerikanischen Musikgeschäftes deutliche Verwerfungen gab. Jedes einzelne Booklet ist unglaubliche 72 Seiten stark! Also alles wie gewünscht: die definitive Serie! Superlative werden zwar manchmal überstrapaziert - aber wir sind sicher: Die Serie ist Teil unserer Idee, diese Musik auch nachgewachsenen Fans näher zu bringen - und zugleich die Kenner gut zu unterhalten. Los geht es im Jahr 1956 - als die Country Music sich mit dem Rock ´n´ Roll arrangieren musste, der für Aufruhr sorgte...

Anbieter: Bear Family Recor...
Stand: 16.04.2019
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