Karl Valentin "Beim Feuerwerk" (in German)gitit!
http://rapidshare.com/files/328351479/1k1a1r-l1.rar
Just For Your Listening Pleasure: Tune in, turn on, and drop out!
Dave Bartholomew is the multi-talented figure behind a majority of classic New Orleans R&B of the '50s and the self-proclaimed inventor of the "Big Beat." Bartholomew has over 4000 songs in his enormous catalog and is responsible for arranging and producing timeless records by Shirley & Lee, Lloyd Price, Smiley Lewis, and especially Fats Domino. Bartholomew was born in Edgard, LA, on December 24, 1920. His first instruments were tuba and trumpet. He fronted several bands in the Crescent City before being drafted into the army. His military time brought scoring and arranging experience which came in handy following World War II. After his stint in the service, Bartholomew returned to New Orleans and put together a group of musicians that would comprise the bedrock of R&B in the city, including saxophonists Alvin "Red" Tyler, Lee Allen, and drummer Earl Palmer. This became the band that backed up the majority of solo talent traveling through New Orleans. Bartholomew led his first studio session under his own name in 1947 for Deluxe, but the label went out of business shortly thereafter and the sessions went unnoticed. In 1949, Bartholomew met Lew Chudd who was forming a new label, Imperial Records. Chudd hired Bartholomew as house arranger, bandleader, and talent scout, and he immediately started cranking out numerous hits through the '50s for Fats Domino, Shirley & Lee, Smiley Lewis, Earl King, Chris Kenner, Tommy Ridgely, Frankie Ford, Robert Parker, and a host of others. Bartholomew stayed with Imperial until the hits dried up in the mid-'60s, followed by short stays at Trumpet, Mercury, and his own Broadmoor label. (by Al Campbell - All Music Guide)
traxfromwax:
... Other modish bands started to pop-up near the end of Mod Fun's near residence at The Dive (aka "Cavestomp Central"); but none seemed to even get the chance to quite immerse themselves in that scene and genre in the way MF did as The Dive sadly closed down at it's height of popularity. After The Dive closed, a gig with the amazing NY act The Vipers at the legendary Peppermint Lounge was soon followed by a few sold-out headlining shows at Maxwells.
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Absolutely incredible collection of wild and raw blues with stellar sound. This is as good as it gets!
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He couldn't properly be considered part of the British Invasion -- he never had a hit in the U.S. or the U.K. -- but Screaming Lord Sutch laid some unheralded groundwork for the phenomenon. With a rock & horror act based to a large degree on Screamin' Jay Hawkins, David "Lord" Sutch was one of the first genuine rock & roll longhairs, and his bands employed such sterling instrumentalists as Jimmy Page, Jeff Beck, Ritchie Blackmore, Nicky Hopkins, and Mitch Mitchell before they became famous. His early-'60s singles -- mostly over-the-top Halloween novelties or covers of early rock and R&B standards -- are genuinely energetic and fun performances that rank among the few out-and-out raunchy rock & roll records waxed in Britain before the ascension of the Beatles. Twiddling the knobs on his first five singles was the legendarily eccentric Joe Meek, who embellished Sutch's modest talents with his usual grab bag of treated instruments, compression, and odd effects. While he holds a position of undeniable importance in the history of British rock, Sutch was not a talented singer or musician, and the records he made after the mid-'60s were pretty lame despite the presence of some stars who remembered him fondly (and had even sometimes played in his band in the old days). A well-known public figure in Britain, he ran for Parliament several times in the '60s, representing the National Teenage Party, and he founded the pirate radio station Radio Sutch in 1964. He published his autobiography in the early '90s. — Richie Unterberger, All Music Guide
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Louisiana's Goldband label is perhaps best known for its Cajun and R&B recordings, but also did record a good deal of hillbilly and rockabilly sides in the '50s. Twenty-six of them are on Bayou Rockabilly Cats, although when the most recognizable artists on a compilation are Al Ferrier, Hopeless Homer, and Goldband chief Eddie Shuler himself (with Eddie Shuler's All Star Reveliers), you know this is one for the specialists. Actually, much of this is not quite standard rockabilly, but country music in the process of making the transition to rockabilly. There are fiddles and steel guitars on plenty of the cuts, and the tempos are often more in the country boogie or two-step mold than they are in rock & roll. Truth be known, that makes this more interesting than many such compilations of obscure rockabilly (such as numerous ones on the Ace label itself), as the country-rockabilly bridge hasn't been documented and investigated with nearly as much depth as some other roots-of-rock genres have. (There are, for instance, appreciably more reissues of late-'40s - early-'50s R&B and jump blues on the cusp of turning into rock & roll.) In general the performers on this disc had more of a Southern swamp to their lilt, as well as some traces of Cajun rhythms (although those aren't that prevalent). There aren't major overlooked classic songs or amazing performers, but the style's done with a lot of panache and good-natured energy. It's not all hillbilly-rockabilly crossover either; some of the sides are just flat-out raw rockabilly, and Bee Arnold does piano-based work with more of an R&B flavor (even using a clarinet on "Plant You Know, Dig You Later"). Arnold's 1954 single "Way Down Under Blues," in fact, is pretty unusual for the time, and one of the earlier instances anywhere of a white musician recording in a hardcore R&B style that approached rock & roll. When Goldband records were reissued after the '50s, there were electric bass overdubs that Shuler was persuaded to use to make them sound more contemporary-sounding, to the vexation of collectors and historians that rightly prefer the originals. Those listeners will be glad to hear that this CD consists solely of the unoverdubbed original versions, marking in fact the first time the original singles have ever been reissued (although eight of the selections are not from vintage '50s 45s, but from '80s releases that contained previously unissued '50s performances). ~ Richie Unterberger
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Lo-Lite spits swamp gas for some five years now. During these years they sweated and stank on a lot of stages in and outside Holland . This Dutch two-man band, excelling in an original mix of raw stompin' blues and a high-octane punky rock tops the cream of the crap. A slithering slideguitar, some maniac vocals and pounding drums make a surprisingly heavy live sound. Lo-Lite absolutely hasn't the tinny sound one might expect from such a small band. Though bare boned primitive, the songs carefully evade quite some silly rock 'n roll cliché's, we're not talking copycats here, but the real HOW-HOW-HOW-HOW boogie chillin' thing.
Woah. Crazed Hurricanes' style roller-rinkerama bamalama from these bow-tied, ready-for-the-prom fiends. Ya gotta be cucamonga for old tyme rock'n'roll if yer gonna pull out the likes of "Red River Rock," "Swanee River" and "Chattanooga Choo Choo"! Do ya hear what I'm sayin'? I say, do ya hear what I'm-a-sayin' boy? Faster than a speeding locomotive and slippery as a goose, Jackie and the Cedrics can really cut it loose.
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Real tough blues from San Francisco in the 50’s. Ace Records always has great sound and high quality R&B/Blues!
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This was put into my hands by someone who very likely knew what distaste I have for most electric guitar blues, but who knew that I'd be healed by its power & glory in no time. And the man was right! "We're Gonna Boogie" is about two steps to the left of being legitimate, so best of luck trying to find it on the web, though these guys made some noise about having it in stock.
This is one beautiful collection of beat music, spoken word and crazed goofballed lyrics. Way out there selections of many unknown beat artists at their most primitive level spewing forth underground sounds and styles of a bygone era. No Zane or kitch here but straight ahead songs that ooze the beat feel! This is a fantastic selection of music. For me its the beat of this genre...
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A tremendous batch of rare 45s -- chosen with no clear affiliation to any label or producer, but just because the music is great! The overall sound is deep soul, with a touch of funk -- down and dirty numbers that rock and groove with hard-hitting indie production, raw instrumentation, and vocals! (Amazon)
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As it says here, "All of these recordings were made in Mister Childish's kitchen and bathroom on a G36 Revox half-track tape recorder", hence the extremely lo-fi approach. This is Billy Childish at his most raw and unpolished, solo, straight to tape, no messing. Most of these tracks were released previously but many of the original records are now impossible to find for anything less than silly money, so this is a most useful round-up.
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During the Caesars' lifespan, Childish began churning out solo and side projects, working in a variety of collaborations and under an assortment of assumed names. I've Got Everything Indeed and i remember offer his idiosyncratic take on the blues; The 1982 Cassetes consists of even-more-ragged-than-usual early recordings. Poems of Laughter and Violence is a venomous spoken-word effort whose you-are-there ambience is a large part of its appeal. The dodgy 50 Albums Great is a retrospective of sorts, with raw solo remakes of several items from previous releases.
The majority of his career is covered in this compilation. The earliest tracks ‘64-’66 were released on D-Town records. Later releases (’66-’69) came out on Wheelsville and Premium Stuff. On the back of this release I indicated the labels, date, and which side the track was on as best I could find out.
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"The story starts with the Likyds, a group from Perpignan, a nice and sunny town in the south of France, and also a Mecca for the sound of the sixties and the Mod culture in France. The six members of the group belong to a circle of garage music groups among which the Feedbacks and the Beach Bitches, who have had a great impact on the French underground musical movement. During five years the Likyds are touring in the south regions of France and are praised by the regional press and the increasing number of their fans. Their hit record ‘Marbu Dorada’, today on the compilation ‘Perpignan Rock’, is a significant example of this distinctive sound, a mixture of 60’s garage and psychedelic sound.
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Les Shtauss were a garage / punk rockin' band from Nantes, France.
Les Shtauss : Ludo : lead guitar / Manu : bass / Fafa : rhythm guitar / Goret : lead vocal / Jimmy : drums
12 unissued Goldband recordings from Eddie Shuler’s famed studio. There’s some really wild and raw blues here, don’t miss it!
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1er LP vinyl des garage punk chalonnais. Un disque extrême et urgent puisque Caligula Gibus – futur chanteur des Médiums n’était pas encore au chant mais à la batterie…
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Germany's biggest "'60s band" is a Berlin trio which blends Who, Kinks, Hollies and perhaps a dash of Searchers into a seamless sound that could have come straight off a British '60s anthology. (Although the Subtones admittedly have sonic technology on their side.) Boys Want Fun is cute and has a big beat, even if the lyrics are a bit sappy. A super-schmaltz track and an overextended live version of the Who's "Circles" are the only turkeys, but conveniently they're both side-closers.
More experimental than the first volume, lots of cowpunk/country, but also some punk.
traxfromwax:
"Hey RYP, I was at a thrift store today looking for a costume, and I found this old monster rock n' roll LP in pretty good shape. I haven't seen you post this one, so I thought you might like it. Happy Halloween!" - Billy K
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In 1985-87 The Gorehounds place was known as THE GORE MANOR. Lots of punks, bands, and fans stayed there and partied. This was one hell of a wild and crazy time. Lots of broken beer bottles, dirty needles, pot smokin, crack stinkin, and rip roarin mentalness. In the winter the house was so cold that water used to freeze in the sinks and toilets. Rats were living in my couch. And the refigerator was not to be opened except for more BEER. there were punk flyers and grafitti all over the place. It was the best and worst of times. When we finally sunk it was to hit rock bottom... While the band was around it was an original act that played around the NE Coast and Canada as well. There was always a party after a night out at Geno's the hip place to hang for cool music then. Geno's is still around with live music.
I'll keep it short and just say that everything here is classic and the audio commercials are fabulous. It would get 6 stars out of 5 if it were a 2 c.d set because there are many more of these old "monster" hits in addition to many sequels. Buy this c.d. if you can find it. Our family starts playing it a lot throughout October and it just gets better every year. Steve Hoffman, top tier engineer, remastered the songs for this collection so that they sound great too. - By G C. Todd "GCT" (Memphis)
The Route 66 Killers were formed back in the year 2000, when four Russian serial killers met in a smoky ramshackle bar in the small mountain town of Flagstaff, Arizona, just off of Route 66. Having escaped a Russian prison in Siberia, they fled for the United States. All share common interests: murder, voodoo, and surfing. Soon they went on to terrorize the inhabitants of Flagstaff with a series of grizzly murders and zombie-style surf tunes. The local law enforcement has been powerless in the apprehension of the gruesome four, who continue to leave nothing but corpses and mayhem.
...The title was 'All American Boy' and basically said it all. The first lines were" You get a guitar and you put it in tune / You'll be rockin' and rollin' soon / Riding around in a Cadillac / Fightin' the girls offa your back". These words were a call to glory heeded by young men across the globe with Sears guitars, cheap 15 watt amplifiers and a drummer with a van. They hastened to cut-price, two-track recording studios with dreams of Elvis Presley glory and some deeply strange misconceptions of what constituted a hit rock'n'roll record.