We may still currently be computerless but that's not gonna stop Soundological from comin' correct with some more soul! Here's another Kent comp, this time with an unfortunate name that most assuredly was arrived at after an all-nighter but obviously before the amphetamines had a chance to wear off. For this outing, the crew excavates the catalogues of NYC's Old Town and Barry records for some obscure singles and comes up with a few gems.
This LP is a heavy hitter and has found a practically permanent place in my playing out crate thanks to the lovely latin boogaloo tracks by Hector Rivera, especially "I Want A Chance For Romance" which you can check out by following the link below. TSSSJIATPIC was the first time the tune was reissued but Italy's Souful Torino has recently repressed the single itself so all you 45 freaks can find it at your favourite shops, including Dusty Groove. Other highlights include the toe-tappin' title track by The Fiestas, Lester Young's (not Count Basie's horn player) groover obviously made to cash in on Robert Parker's classic soul anthem from the same year and Donald Height's bluesy track with a boss organ line that's reminiscent of Jamaica's late rocksteady/early reggae sound.
According to Kent, when Hy Weiss, the owner of Old Town and Barry publishing rights, hung up his holster to head out for greener pastures in the 90s, the song rights transferred to a big publishing house and this collection was deleted as a result. A few years ago they arrived at a deal with the current holders and were able to reissue this as CD with 15 extra tracks under the title "Old Town & Barry Soul Stirrers." http://soundological.blogspot.com/2009/01/various-think-smart-soul-stirrers-jerk.html
trax:
1 The Gypsies - It's A Woman's World (You Better Believe It) 2 The Fiestas - Think Smart 3 Jesse Johnson - Left Out 4 Lorraine & The Delights - Baby I Need You 5 The Gypsies - Jerk It 6 Lester Young - Barefootin' In Chinatown 7 Hector Rivera - I Want A Chance For Romance 8 David Coleman With The Hector Rivera Orchestra - My Foolish Heart 9 Freddie Houston - If I Had Known 10 Donald Height - You Can't Trust Your Best Friend 11 Irene Reed - We're Gonna Make It 12 Thelma Jones - Souvenirs Of A Heartbreak 13 Yvonne & The Violets - Cross My Heart 14 Hector Rivera - At The Party 15 Bobby & Betty Lou - Soul Stirrer 16 Beverley McKay - You Better Believe Me
...Many Thanks To Pingw For The Think Smart Share! served by Gyro1966...
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18 comments:
"Think Smart"
...Many Thanks To Pingw For The Think Smart Share! served by Gyro1966...
gitit! no pw
http://www72.zippyshare.com/v/dNcHl5KR/file.html
RIP Stevie Wright
The Easybeats – Best Of The Easybeats (Featuring Friday On My Mind) (1985) vinyl comp @320
http://www69.zippyshare.com/v/fiYgfnG8/file.html
A1 Sorry
A2 She's So Fine
A3 It's So Easy
A4 Woman (Make You Feel Alright)
A5 Friday On My Mind
A6 Pretty Girl
A7 Made My Bed, Gonna Lie In It
B1 Gonna Have A Good Time
B2 Hello, How Are You?
B3 Fancy Seeing You Here
B4 Falling Off The Edge Of The World
B5 Come In, You'll Get Pneumonia
B6 Bring A Little Lovin'
B7 St. Louis
http://www.discogs.com/Easybeats-Best-Of-The-Easybeats-Featuring-Friday-On-My-Mind/release/1905692
BONUS 1 OF 8 @320
Elvis Presley-Elvis Presley (1956)
Today it all seems so easy -- RCA signs up the kid from Memphis, television gets interested at around the same time, and the rest is history. The circumstances surrounding this album were neither simple nor promising, however, nor was there anything in the history of popular music up to that time to hint that Elvis Presley was going to be anything other than "Steve Sholes' folly," which was what rival executives were already whispering. So a lot was unsettled and untried at the first of two groups of sessions that produced the Elvis Presley album -- it wasn't even certain that there was any reason for a rock & roll artist to cut an album, because teenagers bought 45s, not LPs. The first of Elvis' RCA sides yielded one song, "Heartbreak Hotel," that seemed a potential single, but which no one thought would sell, and a few tracks that would be good enough for an album, if there were one. But no one involved knew anything for sure about this music. Seventeen days later, "Heartbreak Hotel" was released, and for about a month it did nothing -- then it began to move, and then Elvis appeared on television, and had a number one pop single. The album Sholes wanted out of Elvis came from two groups of sessions in January and February, augmented by five previously unissued songs from the Sun library. This was as startling a debut record as any ever made, representing every side of Elvis' musical influences except gospel -- rockabilly, blues, R&B, country, and pop were all here in an explosive and seductive combination. Elvis Presley became the first rock & roll album to reach the number one spot on the national charts, and RCA's first million dollar-earning pop album. (Bruce Eder, Allmusic)
Blue Suede Shoes
I'm Counting On You
I Got A Woman
One-Sided Love Affair
I Love You Because
Just Because
Tutti Frutti
Tryin' To Get To You
I'm Gonna Sit Right Down And Cry (Over You)
I'll Never Let You Go
Blue Moon
Money Honey
CD1 OF 50
http://www82.zippyshare.com/v/xGrmLIeA/file.html
INFO
http://www.allmusic.com/album/elvis-presley-1956-mw0000737692
BONUS 2 OF 8 @320
Elvis Presley-Elvis (1956)
If Elvis isn't quite as important historically as the Elvis Presley album that preceded it, that's only because it came second -- musically, it's a more confident and bolder work than his debut, and in any other artist's output it would have been considered a crowning achievement. At the sessions for his first album, the singer and all concerned were treading into unmapped territory and not sure what they were doing or if they were ready for it -- by September of 1956, when the three days of sessions behind the Elvis album took place, he was on top, a national phenomenon of a kind that hadn't been seen in music since Frank Sinatra a dozen years earlier, and he had some more experience recording. And with that confidence came better singing. The songs here were, for the most part, material that he knew well, with one new submission by Otis Blackwell. He slides through them seemingly effortlessly, transforming the 1940s country number "When My Blue Moon Turns to Gold Again" into a smooth rocker; roaring through the Little Richard numbers "Long Tall Sally," "Ready Teddy," and "Rip It Up"; returns to his blues roots with a killer rendition of Arthur Crudup's "I'm So Glad You're Mine" (a leftover, amazingly enough, from his first RCA session); and shows how refined his voice was becoming on the ballad "First in Line" and the sentimental favorite "Old Shep." The Elvis album was reissued in 1999 with vastly improved sound and eight bonus tracks from the same and chronologically adjoining recording sessions, including the singles "Hound Dog," "Don't Be Cruel," and "Anyway You Want Me," and that is the version to own on CD. (Bruce Eder, Allmusic)
Rip It Up
1:50
Love Me
2:41
When My Blue Moon Turns To Gold Again
2:18
Long Tall Sally
1:51
First In Line
3:21
Paralyzed
2:24
So Glad You're Mine
2:18
Old Shep
4:10
Ready Teddy
1:55
Anyplace Is Paradise
2:26
How's The World Treating You
2:23
How Do You Think I Feel
2:10
CD2 OF 50
http://www82.zippyshare.com/v/sjPVj3NS/file.html
INFO
http://www.allmusic.com/album/elvis-1956-mw0000650646
BONUS 3 OF 5 @320
Elvis Presley-Loving You (1957)
Purporting to be the soundtrack to Elvis' second film, this album collects songs used in the film on one side with new material on the other. The weakness of a couple of the movie tunes and the fact that the new songs were leftovers from the sessions used to produce Elvis' first gospel EP and latest single add up to his weakest album offering, although any album with "Got a Lot o' Living to Do" is alright. If you think of Loving You as simply an Elvis Presley album rather than a somewhat misleadingly packaged soundtrack, it was actually one of his more coherent and cohesive long-players, assembled from sessions all conducted in the first two months of 1957. By this time, he was doing precious little that was wrong, and his range and control were growing geometrically -- thus, amid some powerful rock & roll, including "Mean Woman Blues" (which could almost have passed for one of his Sun tracks), "Teddy Bear," the electric guitar-driven "Got a Lot 'o Livin' to Do," Ivory Joe Hunter's "I Need You So," and a hard, brittle-textured outtake of "I Beg of You," the King does some brilliant ballad singing on "One Night of Sin" and "Is It So Strange," and belts out one of his great blues performances on "When It Rains, It Really Pours" -- which boasts a killer Scotty Moore guitar part -- and moves into Sons of the Pioneers territory with the hauntingly beautiful Western ballad, "Lonesome Cowboy." He doesn't do badly with "Blueberry Hill," either. (Bruce Eder, Allmusic)
Mean Woman Blues
(Let Me Be Your) Teddy Bear
Loving You
Got A Lot O' Livin' To Do!
Lonesome Cowboy
Hot Dog
Party
Blueberry Hill
True Love
Don't Leave Me Now
Have I Told You Lately That I Love You?
I Need You So
CD3 OF 50
http://www82.zippyshare.com/v/gDnoWdVA/file.html
INFO
http://www.allmusic.com/album/loving-you-mw0000651896
BONUS 4 OF 8 @320
Elvis Presley-Elvis' Christmas Album (1957)
Elvis' 1957 original Christmas album is one of his most inspired early outings and the first time he tackled anything resembling a thematic concept. Split evenly between rockers and bluesy numbers like "Santa Claus Is Back in Town," "Blue Christmas," and "Santa Bring My Baby Back to Me," perennials like "White Christmas," "I'll Be Home for Christmas," and "Silent Night," and straight-ahead gospel favorites like "I Believe," "Peace in the Valley" and "Take My Hand, Precious Lord," the disc revealed a different side of the rocker for the first time on a public instead conditioned to expect something outrageous. One of the King's shining moments, this is quite simply still one of the best holiday albums available. (Cub Koda, Allmusic)
Santa Claus Is Back In Town
White Christmas
Here Comes Santa Claus (Right Down Santa Claus Lane)
I'll Be Home For Christmas
Blue Christmas
Santa Bring My Baby Back (To Me)
Oh Little Town Of Bethlehem
Silent Night
(There'll Be) Peace In The Valley (For Me)
I Believe
Take My Hand, Precious Lord
It Is No Secret (What God Can Do)
CD4 OF 50
http://www82.zippyshare.com/v/o6lEZlQL/file.html
INFO
http://www.allmusic.com/album/elvis-christmas-album-mw0000191441
BONUS 5 OF 8 @320
Elvis Presley-Elvis' Golden Records (1958)
This was rock & roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service -- a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a Gold record award for a million sales, a record unequaled at that time by anyone else in rock & roll. The album wasn't intended as a history lesson, so "Hound Dog" and "Loving You" precede "Heartbreak Hotel" -- the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like "Too Much." On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, "dirty" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on "Hound Dog" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost upfront in the mix. Those who own the first Elvis box from RCA, covering the '50s masters may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Elvis' Golden Records does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. (Bruce Eder, Allmusic)
Hound Dog
Loving You
All Shook Up
Heartbreak Hotel
Jailhouse Rock
Love Me
Too Much
Don't Be Cruel
That's When Your Heartaches Begin
(Let Me Be Your) Teddy Bear
Love Me Tender
Treat Me Nice
Anyway You Want Me (That's How I Will Be)
I Want You, I Need You, I Love You
CD5 OF 50
http://www82.zippyshare.com/v/C1Mj0Al6/file.html
INFO
http://www.allmusic.com/album/elvis-golden-records-mw0000195342
BONUS 6 OF 8 @320
Friday At The Hideout: Boss Detroit Garage 1964-67
To most folks, the phrase Detroit rock & roll either means the high-energy overdrive of MC5, the Stooges, and the Amboy Dukes, or the no-nonsense working-class rock of Bob Seger and Mitch Ryder. But before those acts established themselves in the public eye, the Motor City already had a thriving garage rock scene in the early to mid-'60s, and one of the real movers and shakers in pre-psychedelic Detroit rock was Dave Leone, who ran The Hideout, Detroit's leading teen dance club, and later branched out with his own record label, Hideout Records. Friday at the Hideout collects 21 highlights (18 on LP) from the Hideout catalog, and while legal problems prevented the inclusion of any of the six sides a young Bob Seger cut for Leone (among them the anti-draft-dodging classic "The Ballad of the Yellow Beret"), this is still a top-shelf collection of quality Midwest stomp, and at least two other names destined for bigger things pop up. Teenaged Glen Frey played with two different Hideout acts, the Byrds-centric the Four of Us and moody popsters the Mushrooms, both of whom are in fine form here (the former do a great version of " "Feel a Whole Lot Better," while the latter score with "Burned"), and future glam goddess and Happy Days regular Suzi Quatro's early band, the Pleasure Seekers, are on hand with their near-legendary paean to the joys of teenage beer-swilling, "What a Way to Die." Elsewhere, you get some quality frat rock with attitude from Doug Brown and the Omens (including "Youth and Experience," perhaps the only great garage rock tune written to endorse a candidate for the U.S. Senate), some fine guitar mauling from the Henchmen (no relation to the similarly named Detroit band of the '90s), five cuts from scene stalwarts the Underdogs (including "Man in the Glass," whose lyrics are cribbed from the Alcoholics Anonymous big book, and a solid version of the title cut), and the Fugitives, whose gloriously low-tech version of "Friday at the Hideout" drips with teen-club ambience as they explore the possibilities of reverb. It ain't exactly Kick out the Jams, but Friday at the Hideout is nearly as much fun, and a must for anyone interested in the roots of Detroit rock. (Mark Deming, Allmusic)
http://www78.zippyshare.com/v/lL0dbghj/file.html
INFO
http://www.allmusic.com/album/friday-at-the-hideout-boss-detroit-garage-mw0000014517
BONUS 7 OF 8 @320
Sleepy LaBeef-Rockabilly Blues (1980-1981) Rounder Records
Although it's comprised entirely of previously unissued studio material predominantly recorded in 1980 and 1981 that didn't make the first cut on his Rounder albums, there's nothing second-rate about this compilation. The big man with the droopy eyes from Sun records sounds equally inspired on upbeat bluesy rearrangements of tracks rescued from the vault, such as Jimmy Reed's "Bright Lights, Big City," the roof-raising Little Richard cover "Long Tall Sally," and the album closing "Rip It Up." Sure, these chestnuts have been recorded thousands of times, but LaBeef tears into them with enthusiasm and passion, adding fresh nuances and a creative approach. Even Hank Williams' "Fool About You," where Buddy Spicher's fiddle injects a backwoods feel, is augmented by LaBeef's meaty twang guitar and gutsy vocals. His rearranged "Mannish Boy" maintains the classic song's energy but runs it through a swampy rhythm, transforming it into a chugging locomotive. Like Sun's stable of artists, in particular one Elvis Presley, LaBeef sees little difference between rockabilly, country, and blues. It's in the way he incorporates and combines those genres through that deep baritone and skittering guitar that makes him unique. Not just for fans, Rockabilly Blues is as good an introduction to Sleepy LaBeef's charms as any of his other albums. A bit more rockin' and bluesy than most of his stuff, only the album's abbreviated 37-minute length is disappointing about this rollicking, infectious disc. Roots rock & roll at its finest. (Hal Horowitz, Allmusic)
The 6-foot-6 Arkansan with the weather-beaten electric guitar, the booming, earth's crust-deep basso profundo, and the huge repertoire of songs is still going strong in his mid-60s, playing nightly in honky-tonks everywhere. One of the pioneers of rockabilly, LaBeef provides good fun on CD as well, as one listen to Rockabilly Blues makes clear. The bluesy side of his music is emphasized in this collection of a dozen songs that were taped at four studio sessions in the 1980s and '90s, but languished in the Rounder vault until now. Meticulous, unselfconscious, and ever so passionate, LaBeef puts his distinctive stamp on the likes of Sonny Boy Williamson's "Bottle Up and Go" and Muddy Waters's "Mannish Boy." Nashville fiddler Buddy Spicher and New York-based pianist Dave Keyes are among the big guy's ace sidemen, and both make key contributions to this fine record. --Frank John-Hadley
1
Bottle Up And Go
2
Bright Lights, Big City
3
Fool About You
4
Mannish Boy
5
Long Tall Sally
6
Got You On My Mind
7
Rooster Blues
8
Night Train To Memphis
9
Sugar Sweet
10
Make Room For The Blues
11
This Train
12
Rip It Up
http://www78.zippyshare.com/v/8i4nulTS/file.html
INFO
http://www.allmusic.com/album/rockabilly-blues-mw0000112373
http://www.amazon.com/Rockabilly-Blues-Sleepy-LaBeef/dp/B000056CCX
BONUS 8 OF 8 @320
Eilen Jewell- Boundary County '06
Boston-based artist Eilen Jewell puts her own beautiful stamp on old country, folk and blues and comes out sounding like the time-traveling, sweet-voiced lovechild of Bessie Smith, Gillian Welch, and The Be Good Tanyas. Her thick, warm voice and authentic country songwriting have led the Boston Herald to name her “Boston’s Americana gem.” Boundary County, inspired in part by her home state of Idaho, is Eilen's first full-length studio album. Recorded at Middleville Studio in North Reading, Massachusetts by Chris Rival in December, 2005, Boundary County features thirteen original compositions woven together with threads of loneliness, homesickness, regret, sinning, traveling, dreaming, hope, and redemption. (No Depression)
Eilen Jewell has a voice a smooth as silk, somewhere between Billie Holiday and Norah Jones, and sings songs that sound just like Gillian Welch or Lucinda Williams. A big standup bass and fiddle in the background completed the scene. I was immediately taken and rushed over to buy this cd. I was shocked to learn that she was a local artist (albeit transplanted from Idaho - Boston doesn't have much of a country scene), and performed regularly at a tiny Irish pub in Somerville named Tír na nÓg.
As good as her show was, this is even better. Terrific production values and even better songs, which sound like drinking a sloe gin fizz while watching the Mississippi roll by. Although this is credited as a solo release, she employs a full band and was labeled on the fair guide as "The Eilen Jewell Band." Brush drums, banjo, violin and upright bass, along with her smooth voice make for a relaxing, laid-back feel, but it is never dull, even upbeat at times, as on Track 6, "Back to Dallas," or especially on Track 9, "Gotta Get Right." (NPR)
http://www78.zippyshare.com/v/vM8ouj12/file.html
INFO
http://www.amazon.com/Boundary-County-Eilen-Jewell/dp/B000F5ZHE4
@ Gyro1966, That Eilen Jewell should make a fine Christmas present. Thanks Again, ronh1
Hey, wow! I mean, THANKS for so much Elvis, and for the nice touch
of posting his entire first albums --no "great hits" stuff (notwithstanding
the phenomenal Golden Records comp). Cheers Daniel, from Spain...
Thank you, G, for giving us the "Holy Grail" of Presleyana, his entire career captured in those first 6 or so albums, filled with rock'n'roll, gospel, Christmas, and - yes - pop. This blueprint would be followed, with admitted excursions into "Hollywoodland", for the next 20 years. Yet there are few albums that reveal the true young King better than these. Argue if you want, but listen to these right after you spend a few days with the Sun Sessions, and see what you think about Elvis.
Iggyobviously
Thank you for Think Smart, Sleepy LaBeef and Eilen Jewell!
Elvis Presley – Elvis Presley
RCA Victor EPB-1254 (USA March 1956)
Ultra-rare promo double EP (2 x 4 track 45 rpm record with gatefold picture sleeve) that was released at the same time as Elvis Presley’s first LP (march 1956).
Note: the back sleeve has side 2 and side 3 titles mixed up.
Disc 1
1. Side 1 - 01 - Blue Suede Shoes (1:59)
2. Side 1 - 02 - I'm Counting On You (2:23)
3. Side 2 - 01 - I Got A Woman (2:24)
4. Side 2 - 02 - One-Sided Love Affair (2:10)
Disc 2
5. Side 3 - 01 - Tutti Frutti (1:59)
6. Side 3 - 02 - Tryin' To Get To you (2:32)
7. Side 4 - 01 - I'm Gonna Sit Right Down And Cry (2:02)
8. Side 4 - 02 - I'll Never Let You Go (2:24)
Complete Artwork Included (front, back, inside of the gatefold cover, discs, labels)
http://www14.zippyshare.com/v/3b1HIEoG/file.html
Thanks
Gonna be a busy time with Elvis. 50 cd's? Wow.
Thank you for the Old Town-Barry comp and the Elvis 45 EP
Tanx for Friday At The Hideout!
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