A fine and varied collection of sides recorded for the United Artists and Unart label in the late 50s encompassing, rockabilly, rock 'n' roll, teen-rockers and rockin' doo-wop. Includes sides by Chuck Wiley (a nice cover of Johnny Burnette's Tear It Up), The Four J's (bland vocals and song rescued by hot guitar solo), The Five Delight, Davey Holt (Elvis imitator), Sammy Gowans (hot rockabilly with tough guitar), Sal Mure, Del Knights, Russ Marlo, The Delicates, Warren Miller (fine piano based rocker in Jerry Lee style), Billy Eldridge (his rockabilly classic Let's Go Baby), Wendell Smith (the fine bluesy Nashville, Tennessee) and others. Fine sound. (FS) (Roots & Rhythm)
trax:
1. tear it up - Chuck Wiley 2. rock & roll age - The Four J's 3. freeze - Wes Bryan 4. okey dokey mama - The Five Delights 5. pittery pat - Davey Holt 6. rockin' by myself - Sammy Gowans 7. my sweet verlene - Ronnie Brent 8. desire - Sal Mure 9. collecting girls - Bernie Lawrence 10. compensation - The Del Knights 11. johnny on the spot - Hunt Stevens 12. tom cattin' - Russ Marlo 13. it's up to you - Brien Fisher 14. black & white thunderbird - The Delicates 15. everybody's got a baby but me - Warren Miller 16. shake up the dance - Chuck Wiley 17. let's go baby - Billy Eldridge 18. i told you once - The Fantastics 19. nashville tennessee - Wendell Smith 20. if you don't know - Hunt Stevens 21. bright red skinny pants - The Charades 22. double datin' - Brien Fisher 23. be nice don't fight - The Four J's 24. i feel it for you - Hunt Stevens 25. morse code - Sal Mure 26. G-3 - The Jaye Sisters 27. nobody's home - Lee Andrews 28. mr. dillon - The Delecardos 29. tiny spaceman - Wes Bryan 30. everything - The Del Knights 31. kissin' at the drive-in - Sammy Gowans 32. you move me - Davey Holt
...served by Gyro1966...
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18 comments:
"UNITED ARTISTS ROCK & ROLL PARTY"
...served by Gyro1966...
gitit! no pw
http://www67.zippyshare.com/v/wcRhaDPB/file.html
My Fave Rosanne Cash record.
Roxanne Cash- King's Record Shop (1987) CD
http://www72.zippyshare.com/v/3rihb8YJ/file.html
Rosanne Cash's catalog on Columbia is nothing if not formidable. Her pioneering meld of country, rock & roll (with an emphasis on "rock"), folk, and even blues, her topical concerns (which went deeper than most songwriters who came before her in taking on the tough topics of life), and her insistence on working outside the Nashville box scored her a number of hits and blazed the trail for many women who came later. King's Record Shop followed by two years her flirtation with the kind of pop coming out of England in droves, the radically underappreciated Rhythm & Romance. King's Record Shop -- produced by her then-husband and longtime collaborator Rodney Crowell -- is a granite-solid collection of covers and originals that delve deeply into the traditions that informed her life and created her as an artist, while revealing the trouble in her marriage to Crowell. The opening track, Eliza Gilkyson's "Rosie Strike Back," is a real feminist country anthem, and contains killer backing vocals from Patty Smyth (of Scandal) and Steve Winwood. Her read of John Hiatt's "The Way We Make a Broken Heart" is the kind of torch and tang ballad that will stand the test of time simply for its gender-bending take on relationships. Her collaboration with Hank DeVito, "If You Change Your Mind," is a jangly folk-rock ballad that expresses romantic longing in the face of a wayward lover; in its choruses one hears need as well as generosity. "The Real Me," a song that offers the vulnerability, truth, and flaws of a life in the process of transformation, is a preview of the type of material that would appear on the nakedly revealing Interiors. And it just goes deeper, from her rollicking and rebellious rocker "Somewhere Sometime" to the stellar cover of John Stewart's heart-wrenching "Runaway Train" to the straight-ahead country of her father Johnny's "Tennessee Flat Top Box." With its faux soul R&B chorus, Crowell's "I Don't Have to Crawl" is as full of want, cracked-heart honesty, and determination to keep standing as anything in country music. Ultimately, King's Record Shop is Rosanne Cash's classic, a work that transcends production and songwriting styles and the pop and country music of the time.
A couple of more from Los Lobos.
Los Lobos- By The Light Of The Moon (1987) Vinyl
http://www72.zippyshare.com/v/1oeUz2pZ/file.html
These guys are a world-class band. If they want to go Motown, who wouldn't? If they want to downplay the accordion, they have the guitars to compensate. But if they think pop means compassionate generalizations after the manner of John Cougar Mellencamp, they're selling themselves short. Though they're less confused for sure, with a gift for snapshot images that suggest the dimensions of suffering in this trouble land of ours, only on "The Hardest Time" do they drive that suffering all the way home. Leaving us with world-class jukebox grooves and vocals and some affecting protest songs.- Robert Christgau
http://www.discogs.com/Los-Lobos-By-The-Light-Of-The-Moon/release/1214424
Los Lobos- The Neighborhood (1990) CD
http://www72.zippyshare.com/v/OgNlbO9f/file.html
In 1987, Los Lobos released their ambitious and contemplative By the Light of the Moon and the surprise-hit soundtrack album La Bamba, while the following year they recorded a low-key set of Mexican folk songs, La Pistola y el Corazón. After making three such disparate albums, it was seemingly anyone's guess what path Los Lobos might follow next, and when they next emerged from the recording studio, 1990's The Neighborhood made it clear they had taken a number of enlightening side trips along the way. While building on the musical and lyrical maturity of By the Light of the Moon, The Neighborhood followed a number of different musical themes, with the musicians seeking (and finding) a common musical ground between the New Orleans R&B stomp of "Jenny's Got a Pony," the country-flavored fiddle of "Emily," the atmospheric late-night pulse of "Angel Dance," the blues-based swagger of "I Can't Understand," and the downbeat jazzy contemplation of "The Neighborhood." Anyone who had been listening already knew that Los Lobos were five singularly gifted musicians, but The Neighborhood found them challenging themselves with an ever-expanded musical palate, and as usual they rose to the occasion very well indeed, especially lead guitarist David Hidalgo, and producer Larry Hirsch gave the performances just the right amount of polish while providing the settings they deserved. And the songs, portraits of moments in lives both great and small, come together in the moving title track, in which Los Lobos return where they started their journey, their own back yard, where folks are still looking for a measure of hope and peace of mind. A genuine step forward for a great band, as well as the jumping-off point to their most experimental period.- Mark Deming
http://www.allmusic.com/album/the-neighborhood-mw0000203387
Wishing all of you a great Thursday and hope you enjoy!
Fortuitous offers, clash! I first hooked on a R Cash song that the Lobos helped with, to wit: LAND OF DREAMS
[& made very own version of that since...*]
& sampled 1 other RC album but was less up our alley... glad to hear this recommended one!
---
* http://holycontour.bandcamp.com/track/land-of-dreams-r-cash
[if interested]
BONUS 1 OF 10
DAVE EDMUNDS -Rockpile '72 (Expanded '01) @320
Years before teaming with Nick Lowe in Rockpile, Edmunds began his solo career with this 1972 classic. He plays and sings just about everything here, his obsession with vintage rock 'n' roll proving addictive as you hear his smash I Hear You Knocking and hit I'm Comin' Home plus Down Down Down; The Promised Land; It Ain't Easy , and more!
This 2001 Expanded CD gives us all 10 tracks of Dave Edmund's rare debut album from 1972 and bolsters it up with the A&B sides of 3 singles that preceded its release. Repertoire REP 4966 breaks down as follows (50:54 minutes)
1. Down Down Down [written by Trevor Burton of The Move]
2. I Hear You Knocking [Stereo Album Version] [written by Dave Bartholomew and Pearl King, a Smiley Lewis cover]
3. Hell Of A Pain [written by John David (Williams)]
4. It Ain't Easy [written by Ron Davies, a Nashville songwriter. It was covered also by Three Dog Night, David Bowie (on "Ziggy") and Long John Baldry. Baldry even named an album after the song in 1971 (UK Warner Brothers K 46088) - his version of the track was produced on that album by Rod Stewart and featured both Ron Wood of the Rolling Stones on Guitar and Maggie Bell of Stone The Crows on Backing Vocals]
5. The Promised Land [written by Chuck Berry]
6. Dance, Dance, Dance [written by Neil Young]
7. (I'm A) Lover Not A Fighter [mistakenly credited to Collier - it was written by Jay D Miller, a Louisiana record producer who first gave the song to Lazy Lester; it was released by Lester in 1958 on Excello Records 2143. It was also covered by The Kinks on their 1964 debut LP (correctly credited to Miller). Dave Edmunds' cover of the song combines elements of both versions]
8. Egg Or The Hen [written by Willie Dixon, a Koko Taylor cover]
9. Sweet Little Rock & Roller [written by Chuck Berry] (lyrics featured above)
10. Outlaw Blues [written by Bob Dylan]
Tracks 1 to 10 make up the album "Rockpile" issued June 1972 in the UK on Regal Zonophone SLRZ 1026 and on London/Mam Records MAM-3 in the USA
11. I Hear You Knocking [7" Single Mix]
12. Black Bill [An Instrumental written by Dave Edmunds]
Tracks 11 and 12 are the A&B of his first solo single issued October 1970 in the UK on Mam Records MAM 1 [Mono] (reached Number 1 in the UK charts).
Its US issue was on Mam 45-3601.
13. I'm Coming Home [cover of a Traditional Stephen Foster song called "Old Black Joe" reworded and reworked by Jerry Lee Lewis]
14. Country Roll [written by Dave Edmunds]
Tracks 13 and 14 are the A&B of his second solo single issued March 1971 on Regal Zonophone RZ 3032 [Stereo]. Its US issue was on Mam 45-3608.
15. Blue Monday [written by Dave Bartholomew and Fats Domino]
16. I'll Get Along [written by John Williams, the Bass Player]
Tracks 15 and 16 are the A&B of his third solo single issued July 1971 on Regal Zonophone on RZ 3037 [Mono]. Its US issue was on Mam 45-3611. (Mark Barry, Record Runner)
http://www20.zippyshare.com/v/X4BaJMyl/file.html
INFO
http://www.amazon.com/Rockpile-Dave-Edmunds/dp/B004UHF5RM
http://www.allmusic.com/album/rockpile-mw0000459485
BONUS 2 OF 10
A Bunch Of Stiff Records '77 @320
The fact that Stiff Records has become very much the model for every self-respecting independent label of the past three decades is not necessarily to the advantage of the label's own iconography. It's well-known there have been singles that were deleted for fear they might become hits, the limited editions that weren't (and the regular editions that were), the brutal slogans, and the brittle talents -- those are all a matter of historical record. But the records themselves are frequently overlooked, with this set a case in point.
Released early in 1977 -- that is, before the world of collectors and anal-retentives truly leaped aboard the Stiff bandwagon -- A Bunch of Stiff Records compiles a handful of future classics with a clutch of total unknowns. For every Elvis Costello, Nick Lowe, and Dave Edmunds, there is a Magic Michael, a name familiar only to anyone who watched Hawkwind support acts in the early '70s; a Stones Masonry, a kind of pre-pub rock supergroup; and Jill Read, a fabulous Edmunds discovery whose Spectorised version of the girl group classic "Maybe" was recorded back in 1969. Even Wreckless Eric, whose "Whole Wide World" debuted on this album, was a total unknown at the time, a lemonade-factory worker who dropped his tape off at the offices one day and was as surprised as anyone when the label wanted it.
Elsewhere, Motörhead was still reeling around the London underground, unwanted and unreleasable -- Stiff had already canceled the release of "White Line Fever" as a single; while the Takeaways were basically an excuse for a bunch of musicians hanging around the studio to pretend they were Bruce Springsteen. In fact, the only true star on the entire album doesn't actually get his name on the sleeve; Graham Parker was already contracted to Mercury, but pops up with an uncredited track at the end of side one regardless. For all its perceived obscurity, however, A Bunch of Stiff Records works as a compilation of great new names, as a cohesive gathering of the age's freshest notions, and -- of course -- as a suitably off-kilter introduction to the world of Stiff Records. (Allmusic)
A1
–
Nick Lowe
I Love My Label
Written-By – Lowe*
A2
–
Wreckless Eric
The Whole Wide World
Written-By – Wreckless Eric
A3
–
Motorhead*
White Line Fever
Producer – Motorhead*
Written-By – Clarke*, Kilmister*, Taylor*
A4
–
Elvis Costello
Less Than Zero
Written-By – Costello*
A5
–
Magic Michael
Little By Little
Written-By – Magic Michael
A6
–
Graham Parker
Back To Schooldays
B1
–
Stones Masonry*
Jump For Joy
Written-By – Stone*
B2
–
Jill Read
Maybe
Producer – Dave Edmunds
Written-By – Barrett*
B3
–
Dave Edmunds
Jo Jo Gunne
Producer – Dave Edmunds
Written-By – Berry*
B4
–
Tyla Gang
The Young Lords
Producer – Deke Leonhard*
Written-By – Tyla*
B5
–
Takeaways, The (2)
Food
Producer – Stan Francisco (3)
Written-By – Kid*
http://www20.zippyshare.com/v/1n5SIrP8/file.html
INFO
http://www.discogs.com/Various-A-Bunch-Of-Stiff-Records/release/1102623
BONUS 3 OF 10
JACCO GARDNER - Hypnophobia '15 @320
Syd Barrett’s Pink Floyd, the Zombies, and the Left Banke have all been mentioned before as the best representatives of Jacco Gardner’s sound or influences but in my view, Jacco’s definitely channeling the spirit of Syd Barrett circa 1967 — and Hypnophobia is no exception to that opinion. (Something Else Reviews)
By Caitlin White / April 22, 2015 - 11:29 am
It’s tempting to categorize Jacco Gardner by the scope of his musical instruments. Hypnophobia features a Wurlitzer electric piano, mellotrons, harpsichords, an obscure, ancient Optigan, an antique Steinway upright — these are relics of a particular nature, hand-selected and played to achieve a baroque pop period piece. Initial single “Find Yourself,” its trippy video, and the title track confirmed the record’s exploration of a retro-psych wonderland. But it’s not all acid trips, and moments of real introspection appear.more
Listening to the full album expands Gardner’s scope considerably; there’s “Make Me See,” a quiet, unexpected songwriter number that barely lasts a minute and a half. Or “Grey Lanes,” an almost pastoral, instrumental lullaby that only gets electronic toward the tail-end. On Hypnophobia, Gardner takes psychedelia and twists it to suit his idea of what blissed-out baroque should be. If late-’70s residents of Laurel Canyon re-imagined themselves 40+ years later with an expanse of antique instruments, they probably couldn’t have done a better job than Gardner has of creating their own modern, alternate reality. It’s a heady, hypnotizing look at the past through the always rose-colored glasses of the present. Backward glances rarely sound this good though, so stream the whole thing below via HypeMachine.
http://www20.zippyshare.com/v/cotcHCh0/file.html
INFO
http://somethingelsereviews.com/2015/04/12/jacco-gardner-hypnophobia/
http://www.stereogum.com/1796300/stream-jacco-gardner-hypnophobia/mp3s/
BONUS 4 OF 10
RALEGH LONG - Hoverance '15 @320
Long sings in a breathy whisper reminiscent of Nick Drake, although sometimes his voice cracks and strains against the keening violins and pedal steel masquerading as synth tones. Long has more in common with the ill-fated, esoteric wing of the balladeer brigade – you’ll be reminded variously of Nilsson, early Todd Rundgren, even Alex Chilton at his most overwrought and wracked. Love Kills All Fear’s chord progression is uncannily similar to Rundgren’s Believe in Me; uncanny unless it was deliberate, in which case we probably mean unashamed. The Ride and Beginning the World, meanwhile, have some of the twilit ambience and demented beauty of Big Star’s late-period tortured anti/avant-ballads. Let’s just hope Hoverance sells a few more copies than Sister Lovers.
http://www90.zippyshare.com/v/RiRiu4Xj/file.html
INFO
http://www.theguardian.com/music/2015/feb/06/ralegh-long-hoverance-new-band-of-the-week
http://www.amazon.com/Hoverance-Ralegh-Long/dp/B00THRDLJE
Hey Clash. True dat on the Rosanne Cash! Although it's hard to choose among such a sterling and varied catalogue this one is a standout. My favorite song though is Benmont Tench's "Why Don't You Quit Leaving Me Alone", which sounds like a drunken plea that Tom Waits might have concocted made all the more believable with Ms. Cash's vulnerable and stretched vocals. Ah, yes. Also don't miss her last collection The River and the Thread which sits right among her best work! Mr. Crowell does some assisting on that one too both in the writing and playing, although John Leventhal drives the whole set. Thanks for the conversation!!
In the interest of taste/what makes one's clock tick, I might admit that the loud [snare] drum on Roseanne's album almost ruins it for me, a guy over 60 whose own ears may not be perfect! [too damn clean and mechanical & loud! darn it] Grrrr I'd like to box the producer's ears
The 80's drum sound is very dated now - too bad so many records were marred by it.
ah man, that horrible 80s drum heavy production... when one of you generous souls shared brian setzer's "the knife..." lp recently, i was so excited to hear it, then completely bummed when i did.
really good songs marred by nasty production. he's a good guitarist, yet they drown that out with the drums. wtf? that's one i wish someone would re-mix for the this century.
ok rant over,
-peacenik
What ge said? Me, too...
Thanks for the Lobos, clash!
Diggin' the UA compilation. Some snoozers but very interesting. Thanks!
That 80's drum sound always reminds me of the utter disappointment I had way back in the day when I heard Marshall Crenshaw's 2nd LP for the first time. The 1st had such a simple clean production and then...ugh.
Thanks very much for this
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