The tracks included on these two discs come from the early glory days when Bill Haley was hot and both Australian and bought-in American rock 'n' roll drove their business. This music recaptures the excitement of a musical era which propelled Festival forward for over 50 years. The Festival story is the story of a record company that remained uniquely Australian and independent when others vanished or were swallowed by multinationals. It is so well loved in its homeland that it was the subject of a major exhibition at Sydney's Powerhouse museum in 2002. Festival has a unique place in the last 50 years of Australian popular music and spawned its share of music-biz stories: for example, its studio is reportedly haunted. There are stories of all-night recording sessions at which doors mysteriously open and close, console lights go on and off and even, on occasion, a ghostly engineer appears at the console. It is also said that, in the early days, singers recorded their vocals in the women's toilet to achieve an echo effect.
INFO
http://www.notnowmusic.com/midnight-shift-the-festival-records-story.html
trax disc 1:
1. Midnight Shift - Buddy Holly 2. That'll Be Alright - Johnny O'Keefe 3. Now And Then There's A Fool Such As I - Bill Haley & His Comets 4. Oh Yeah Uh Huh - Col Joye & The Joy Boys 5. Schoolboy Crush - Bobby Helms 6. The New Raunchy - Shady Wall 7. I Want To Be Wanted - Brenda Lee 8. Mary Ann Thomas - Buddy & The Hearts 9. My Heart Is An Open Book - Carl Dobkins Jr. 10. You Are My Sunshine - Dig Richards & The R'Jays 11. Baby, Baby - Jack Scott 12. Seven Little Girls - Eddie Moses 13. I Met Him On A Sunday - The Shirelles 14. El Paso - Jimmy Little 15. The Big Hurt - Toni Fisher 16. A Lover's Question - John Laws 17. You Excite Me - Johnny O'Keefe 18. Psycho - Harriott & Evans 19. Sea Of Love - Katie Webster 20. Waltzing Matilda - The Four Aces 21. Humpty Dumpty Heart - Kay Cee Jones 22. Old Shep - Red Foley 23. Tremble - Malcolm Dodds 24. Wrong - Lucky Starr 25. Kath-A-Leen - Warren Williams
trax disc 2:
1. Rock The Bop - Brenda Lee 2. Yes Sir, That's My Baby - Col Joye And The Joy Boys 3. To Each His Own - Billy Ward & The Dominoes Featuring Jackie Wilson 4. Kansas City - Dig Richards & The R'Jays 5. Mr Blue - The Fleetwoods 6. Way Down Yonder In New Orleans - Lucky Starr & The Hepparays 7. When - Kalin Twins 8. Over The Mountain - Johnny O'Keefe 9. Love Me - Buddy Holly 10. The Last Rose Of Summer - Jimmy Little 11. Lean Jean - Bill Haley & His Comets 12. Someone New - John Laws 13. The Jockeys Are Striking - The Webb Brothers 14. The Fool And The Angel - Bobby Helms 15. Sweet Nothin's - Carol Davies 16. Maybelle - Pat Shannon 17. Ciao, Ciao Bambina - The Four Aces 18. Don't You Know - Herma Keil & The Keil Isles 19. Strike While The Iron Is Hot - Red Foley 20. My Teenage Love - Warren Williams 21. Big Guitar - Owen Bradley Quintet 22. Sail Along Silv'ry Moon - Karen Chandler 23. Sad Sack - Jerry Lewis 24. Go, Jimmy, Go - Jimmy Clanton 25. Happy, Happy Birthday Baby - Kay Cee Jones
...served by Gyro1966...
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15 comments:
"MIDNIGHT SHIFT" The Festival Records Story 1958-1960
...served by Gyro1966...
gitit! no pw
CD1
http://www50.zippyshare.com/v/OEDCOx5E/file.html
CD2
http://www50.zippyshare.com/v/dnSzxEQA/file.html
Thank you for this album and so good to see some Aussie tracks,
It is very much appreciated
Thanks
BONUS 1 0F 6
LOUIS JORDAN - The Later Years 1953-1957 (JSP) @320
The 56 cuts collected on this JSP set contain all but a few of Louis Jordan's singles and albums recorded for Decca, Aladdin, RCA's "X" imprint, and Mercury between 1953 and 1957 (the missing sides were recorded in 1958). Many of these cuts were recorded as singles, ultimately singles that found little success due to the changing nature of the swinging jump blues and jazz jive -- pioneered by Jordan in the 1940s -- which were shifting toward R&B and early rock & roll. While Jordan was still a large concert draw, his fortunes as a recording artist began to dry up, despite the fact that the quality of the music here is stellar. The electric guitar plays a much more prominent role on these sides, particularly in those from 1956 and 1957 -- a redo of "Caldonia" on disc two could have been cut by Chuck Berry with horns (which is only fitting since Berry claims Jordan as his greatest influence). The remakes comprising most of disc two are actually stomping versions of Jordan classics -- such as "Let the Good Times Roll," "Is You Is or Is You Ain't My Baby," and "Salt Pork, West Virginia" -- that wear the new tempos and more pronounced, edgier beat very well. His singing is more shouting at this point, but that suits the music fine. His band? In 1956 it included trumpeter Ernie Royal, trombonist Jimmy Cleveland, Charlie Persip, and guitarist Mickey Baker! The Jordan orchestras throughout the '50s featured top-notch, burning players accustomed to playing anything and everything. The early-'50s sides were a little less aggressive, but they are no less magical. They contain the same joyous roughhouse humor and hip finger-popping swing of the '40s material, played a bit faster is all. This double-disc set includes a decent if not remarkable set of liner notes by Neil Slaven, and the sound quality is solid throughout. Add to this a very attractive price point and this is a good bet for fans as well as collectors who may have previously underestimated this material. (Tom Jurek, Allmusic)
CD1
http://www3.zippyshare.com/v/QJI5O0jH/file.html
CD2
http://www3.zippyshare.com/v/NWjqwPWw/file.html
INFO
http://www.allmusic.com/album/the-later-years-1953-1957-mw0000801091
BONUS 2 OF 6
BLOOD, SWEAT AND TEARS - Child is Father to the Man (1968, Audio Fidelity 2014) @320
Child Is Father to the Man is keyboard player/singer/arranger Al Kooper's finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late '60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It's Kooper's bluesy songs, such as "I Love You More Than You'll Ever Know" and "I Can't Quit Her," and his singing that are the primary focus, but the album is an aural delight; listen to the way the bass guitar interacts with the horns on "My Days Are Numbered" or the charming arrangement and Steve Katz's vocal on Tim Buckley's "Morning Glory." Then Kooper sings Harry Nilsson's "Without Her" over a delicate, jazzy backing with flügelhorn/alto saxophone interplay by Randy Brecker and Fred Lipsius. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn't have lasted; anyway, it didn't. (Allmusic)
Consider the sum total of Al Kooper's recorded music, and "Child Is the Father to the Man" with Blood Sweat and Tears is his boldest and most enduring project. The songs on this album were written while Kooper was still in the Blues Project and he begged lead guitarist Danny Kalb to add a horn section to the Blues Project to acommodate his new compositions. Kalb balked, preferring the quintet format of the band. It was this creative gridlock with Kalb that led Kooper to leave the Blues Project.
Kooper along with second guitarist Steve Katz jumped ship and in the space of two weeks in December of 1967, recorded the first Blood Sweat and Tears album. (Record Runner)
http://www60.zippyshare.com/v/zGpn2kli/file.html
INFO
http://www.allmusic.com/album/child-is-father-to-the-man-mw0000245285
http://www.amazon.com/Child-Father-Blood-Sweat-Tears/dp/B00004XSVL
BONUS 3 OF 6
STONE COAL WHITE - Stone Coal White '72 @320
Fantastic psychedelic soul/funk.
Given that last week’s Past Perfect reviewed an unearthed gem from Washington DC’s Father’s Children, it’s safe to assume that the Numero Group rarely rests when it comes to their archeological quests. Equally fascinating and forgotten is the release by Dayton, Ohio’s Stone Coal White. The band never made a proper full-length, and unless you were among the very lucky denizens who frequented the Astro Club or the Bone Yard in 1972—or are a very astute record collector—you’ve never heard or heard of the band. Their two 45s released on the micro Ewing label have eluded any lost soul compilations that might accommodate songs of this ilk. Luckily, Numero’s chief investigator, Dante Carfagna, and Josh Davis (a.k.a. DJ Shadow) were big fans of said 45s and followed a long, arduous trail leading them to former Stone Coal White bassist Melvin Payne and the remaining pieces of the Stone Coal White mystery.
As Carfagna writes in the liner notes, Stone Coal White lived and created in the “deepest chasm of the black experience,” going beyond the underground at a time when Dayton was home to the Ohio Players and a heralded funk and soul scene. They were a motorcycle gang, prone to gnarly pornographic, drugged-out stage shows (they were often billed with a “XXX” after their name), and subsequently had a very unstable and short-lived existence. Fortunately, Payne was able to locate the entirety of Stone Coal White’s recorded output. What Carfagna found may only amount to a few covers of songs from the time (Curtis Mayfield’s “Hell Below” and Bill Withers “Ain’t No Sunshine”) and the lengthy instrumental jam, “Warm Up,” but combined with the group’s original songs, it’s a stunning document of an absolutely raw, funky, acid-fueled moment in time.
What set Stone Coal White apart from their contemporaries laid in technique and fidelity. Their best known track, the sweaty slow-burn of “You Know,” is steeped in gooey wah-wah and panned from left to right at an increased frequency, making for quite a unique psychedelic experience. What seems like an eternity due to strategic uses of echo and reverb, really only lasts for four minutes. Even stranger is the straight-up Redding-soul of “Peoples,” which wouldn’t sound that out of place on many of the regional Numero series. In the hands of Stone Coal White, “Peoples” becomes a warped and slightly burnt-out piece of protest against Vietnam. In passing, tunes like “Free” and the group’s riled theme song might come across as pedestrian or amateur, and that would be a fair assessment, but zooming in on the history that surrounded them makes these recordings all that more profound. Focusing on the tiny eccentricities that dot these recordings makes it all the more real to those of us (perhaps everyone reading this) who never had the chance to experience a live Stone Coal White show. Stone Coal White was never meant to be Sly and the Family Stone, and they likely never had aspirations to be such. But for the handfuls of Daytonians who were a part of the racial and socioeconomic tumult that defined their urban landscape in the early ’70s, they were probably the Gem City’s perfect escape on a Saturday night.
Kevin J. Elliott
http://www52.zippyshare.com/v/8hwzKzej/file.html
INFO
http://www.agitreader.com/perfect/stone_coal_white.html
BONUS 4 OF 6
BO DIDDLEY - The Black Gladiator '70 @320
By 1970, Bo Diddley had seemingly done his best music. How surprising it is then that this album, released that year, is an absolute masterpiece of funk. I have heard all of Bo's albums, and this may be my favorite - it's totally out of control, with wild funk guitar, outlandish lyrics and some extremely powerful drumming. Highly recommended. (Village Voice)
I was lucky enough to find this gem in a used record shop and I have to say this is an amazing album. It's funky as hell with with wild distorted guitars and pumping Hammond organ. Kinda like a more rock oriented version of James Brown's groundbreaking funk of the late sixties early 70's. Thrown in for good measure is the slow grooving blues of Hot Buttered Blues. (Record Runner)
http://www60.zippyshare.com/v/CBPH7Q8X/file.html
INFO
http://www.amazon.com/Black-Gladiator-Bo-Diddley/dp/B000RY42YE
BONUS 5 OF 6
THE MAVERICKS - The Mavericks '90
On their 1990 indie debut, the Mavericks proved they had all of the raw tools in place: Raul Malo boasted a magnificently dramatic voice and an impeccable songwriting touch. As a whole, the Miami band revealed an array of influences including pure honky-tonk, shuffling roadhouse boogie, and heart-rending country-pop balladry. Of course, it was this latter style, displayed here on cuts such as "This Broken Heart" and "The Lonely Waltz," that would come to be known as the group's forte, thanks to Malo's anguished readings. The Mavericks moved to Nashville and signed with MCA largely on the strength of this release, which was not as finely honed as their subsequent releases, but was incredibly polished for an independent artist. --Marc Greilsamer
The Mavericks is the first album by the American country music band The Mavericks. It was released in 1990 on the Miami, Florida-based Cross Three label. Written entirely by the lead singer, Raul Malo, it is their only album with the guitarist Ben Peeler. "This Broken Heart", the only official single from this album, failed to chart. "I Don't Care If You Love Me Anymore" was later released on the soundtrack to the 1996 film Michael, and was a low-charting country single that year. "Mr. Jones", "The End of the Line (Jim Baker)", "This Broken Heart" and "A Better Way" were re-recorded in 1992 on the band's first major-label album From Hell to Paradise.
http://www68.zippyshare.com/v/ypo3DUhE/file.html
INFO
http://www.amazon.com/The-Mavericks/dp/B000007SM5/ref=ntt_mus_dp_dpt_19
BONUS 6 OF 6
LOU DONALDSON - Blowing in the Wind ’66 @320
A swingin' set of piano/tenor groovers – played by Poppa Lou and his groovy Argo/Cadet combo that included Herman Foster on piano, Sam Jones on bass, and a young Idris Muhammad (Leo Morris) on drums. The tunes have a swinging easy groove, similar to some of Lou's early 60s work on Blue Note. Titles include "Relaxing In Blue", "Herman's Mambo", "Pazzing Zone", and "The Wheeler Dealer". (Light blue label mono promo. Cover has some wear and pen on back.) © 1996-2015, Dusty Groove, Inc.
Blowing in the Wind is perhaps the most curious and oddly compelling of the dates Lou Donaldson cut for Cadet during his mid-'60s exile from the Blue Note stable -- a mish-mash of contemporary pop hits, stage favorites, and standards all packaged in a bizarrely Picasso-like cover, the record's inconsistencies and contradictions make for an experience that's unique even in the context of Donaldson's erratic and eclectic oeuvre. The rollicking and buoyant reading of the Bob Dylan perennial which lends the set its title is completely wide of the mark -- Donaldson's arrangement is so upbeat and feather light, it's as if he never even glanced at the song's original lyrics, yet at the same time the groove is genuinely funky, and it's arguably the record's most truly soulful moment. A close second is the Donaldson original "The Wheeler-Dealer," which benefits from Sam Jones' "Duke of Earl"-inspired bass and its composer's blistering alto leads; although an ill-conceived rendition of "Hello Dolly" is forced and insipid, the group redeems itself with the lovely "Relaxin' in Blue," a 12-bar blues notable for the grace and restraint of its solos. (Allmusic)
http://www64.zippyshare.com/v/LBYT9nLI/file.html
INFO
https://www.dustygroove.com/item/30041
http://www.allmusic.com/album/blowing-in-the-wind-mw0000870510
Love the Mavericks! Thanks.
Hi, thanks for all the great music.I was wondering if I can request Pete Molinari's A Virtual Landslide and Sweet Louise ep? thank you so much.
thanks for showcasing festival records from down under.keith
Nothing but the usual embarrassment of riches!
The Stone Coal White is truly a lost psych/soul gem.
And another amazing label compilation. I'll be listening to this during the Midnight Shift tonight!
Thanks RYP & Gyro!
Thanks for the Maveriks
LittleJack
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