It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
trax:1. Fire (Cadet) - Etta James 2. You Got It (Cadet) - Etta James 3. Dog - Pt. 1 (Minit) - Jimmy McCracklin 4. Dog - Pt. 2 (Minit) - Jimmy McCracklin 5. Homicide Dresser (Kama Sutra) - Billy Harner 6. Lavender Room (Kama Sutra) - Billy Harner 7. Shout (Red Bird) - The Shangri-Las 8. Maybe (Red Bird) - The Shangri-Las 9. Agent Double-O-Soul (Ric-Tic) - Edwin Starr 10. Agent Double-O-Soul - Instro (Ric-Tic) - Edwin Starr 11. Pushover (Argo) - Etta James 12. I Can't Hold It Anymore (Argo) - Etta James 13. Big Legs - Big Stockings (Nocturn) - Buster Brown 14. I Love You for Sentimental Reasons (Nocturn) - Buster Brown 15. Hold on I'm Comin' (Wand) - Chuck Jackson & Maxine Brown 16. Never Had It So Good (Wand) - Chuck Jackson & Maxine Brown 17. Heebie Jeebie's (Tri-Phi) - The Spinners 18. That's What Girls Are Made for (Tri-Phi) - The Spinners 19. Save My Soul (Carlton) - Jack Scott with the Chantones 20. Goodbye Baby (Carlton) - Jack Scott with the Chantones 21. Saved (Atlantic) - LaVern Baker 22. Don Juan (Atlantic) - LaVern Baker 23. I've Got My Sights on Someone New (Specialty) - Roddy Jackson 24. Love at First Sight (Specialty) - Roddy Jackson 25. Back in the U.S.S.R. (Buddah) - Chubby Checker 26. Windy Cream (Buddah) - Chubby Checker 27. Let It Rock (Chess) - Chuck Berry 28. Too Pooped to Pop (Chess) - Chuck Berry 29. Educated Fool (Ace) - Charles Brown & Amos Milburn 30. I Want to Go Home (Ace) - Charles Brown & Amos Milburn
…compiled and served by Gyro1966...
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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…Ray Taylor & The Alabma Pals are superb - their Clocking My Card is pretty much straight country with a bluegrass flavor and great lyrics but Connie Lou & My Hamtramck Baby adds some rock 'n roll and blues to the mixture ending up with two real classic performances though they are also available on Collector 4438. Other gems include Don Wade's great Oh Love (also on Collector 4422), Jeff Johnson's terrific version of Jimmie Skinner's Doin' My Time done Johnny Cash style and the classic country boogie sound of Stoney Mt. Boogie by Bob Varney. There is also the amazing Lovers Hill by Trice Garner which has a very unusual structure. There are also two uptempo country sides by the intriguing Denver Duke & Jeffrey Null whose vocal style sound like they are either gay or pretending to be gay which was certainly unusual for the 50s. Lots of other goodies from Zeke Clements, Mike Miller, Curtis & The Melody Cowboys, The Ferrell Brothers, Art Ontario and others. A real winner! (Frank Scott, Roots & Rhythm)
For my money, the best Damned album you can get if you are only really into their early stuff (like me). Compare this with their debut, and you'd think these sick puppies were rendered bereft of their nether-regions by Nick Lowe. The only UK band that seriously harkened back to the primitvism and abandon of the heroin-withdraw era of the Stooges was never done justice in the studio, so we have to settle for this. By the time they get to "Born to Kill," you'll swear Brian James' guitar is actually on fire. - mothers_milk
It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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Near the top of any list of the greatest Doo-Wop vocal groups would be The Spaniels of Gary, Indiana. Formed in 1952 while still in high school as Pookie Hudson & The Hudsonaires (lead Thornton James "Pookie" Hudson, 2nd tenor Willie Jackson, baritone Opal Courtney, Jr., 1st tenor Ernest Warren and bass Gerald Gregory) had changed to The Spaniels by the time they auditioned in 1953 for the newly formed Vee-Jay, launched by the husband-and-wife team of James C. Bracken and Vivian Carter Bracken (their given name initials formed the label name). The Spaniels became among the first artists signed by the label, with the ultimate Blues Hall Of Fame (1980) and R&R Hall Of Fame (1991) inductee Jimmy Reed recording their first release, High And Lonesome/Roll And Rhumba on Vee-Jay 100 in 1953.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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...Some years later Howard and Barker joined Billy Childish to form The Buff Medways. Continuing to wear ancient army uniforms a habit they started with the Daggermen.
THE PLAYERS
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...This is prime New Orleans mid-60 groove, and only Stax and Muscle Shoals come close to putting such a distinctive stamp on their soul. "Sameness" might also be positive, as in same quality of songs, arrangements, musicianship, production, engineering, etc. The only criticism is some of the sound is a bit harsh, but it is a sign of the times. Also It's ALL MONO, so be forewarned and believe me you wouldn't want to hear it any other way.
...The Paragons, who formed in 1955, were from various parts of Brooklyn. It all started with three guys from Bedford-Stuyvesant, who were trying to get a group together: bass Al Brown, first tenor Ricky Jackson, and baritone Donald Travis. Al was close with a guy from neighboring Brownsville: a second tenor named Gable "Ben" Frazier (so close, in fact, that they called each other "cousin"). Donald's sister knew and recommended a first tenor named Julius "Mack" McMichael (from East New York); he ended up as their lead. They were all over 18, except for Ben, who was 14 at the time.
If you like a wailing harmonica, groovy organ, primitive guitar and thumping drums, then you have come to the right place. The Waistcoats have been known to wear corduroy jackets and prefer vintage equipment and anolog recording.
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...While Singleton released all sorts of music (and later enjoyed his greatest success taking over the legendary Sun label from Sam Phillips), SSS International was responsible for some great Southern soul sides, and this collection from Sundazed features 20 top tunes from the label's vaults. Singleton seemed to be the kind of guy who loved a hook or a gimmick, and more than a few of the tunes here have some narrative twist or funny lyrical conceit going on, including Mickey Murray's "Sticky Sue" and "Hit Record," "Soul Butter" from Johnny Barfield & the Men of S.O.U.L., Clifford Curry's "Soul Ranger," and the wacky "I Wanna Make Her Love Me Till the Cows Come Home" from Jake Porter. Thankfully, Singleton's staff of producers knew enough to fix these funny tunes up with sharp arrangements and emphatic performances from top-self session men, and the dance grooves "The Hiccup" by Robert Parker and Mr. Jamo's "Shake What You Brought With You, Pt. 1" are even stronger. While Bettye LaVette, Wilbert Harrison, and Johnny Adams all did more memorable work elsewhere, their selections here show that they cut fine sides for SSS, and while this doesn't rack up as many undiscovered classics as Sundazed's concurrent collection of rarities from Singleton's Silver Fox imprint, this is still great listening for aficionados of Southern soul.(Mark Deming, Allmusic)
...This 27-song CD contains virtually the complete output of Rome Records and the related Power-Martin label, other than the Earls' tracks, which were not available. The CD opens with three genuine rarities: two 1959 vintage, pre-Rome sides by Johnny & the Jokers -- the catchy up-tempo novelty tune " "Do-Re-Mi-Rock" and the romantic ballad "Comic Book Romance" -- and one side by the High Hatters, the slow-tempo ballad "It's You." Most of Rome's output was in this vein: white doo wop aimed at dancers; Johnny & the Jokers were one of the busier acts on the label other than the Earls, and their mid-tempo work, such as "Learning About Love," is achingly beautiful and has a great beat. Del & the Escorts were also one of the better outfits to cut for the label, their version of "Someone to Watch Over Me" being one of the better reworkings of a pop classic, while "Baby Doll" features some extraordinary vocal acrobatics by the group; producer Don Davis evidently thought so much of the arrangements and the backing vocals that he wiped the lead singer's voice and recorded someone credited as Jo-Ann on lead vocals for a reissue on the Raven label in 1964. Also featured on this disc are more generic pop-oriented doo wop outfits such as the Glens (who get down to sounding really soulful on the achingly beautiful "More" and "I Feel Great") and an early-'60s outfit called the Pretenders. The latter group's sound varied wildly from record to record based on the evidence of what's here, from lively, upbeat R&B-based teen pop in the vein of Frankie Lymon & the Teenagers on "I'm So Happy" to Frankie Avalon-style crooning on "Could This Be Magic" and Dion & the Belmonts' street-corner harmonizing on "Guardian Angel," and then they turned into a scaled-down version of the Ray Conniff Singers on their version of "A Very Precious Love" (from the movie Marjorie Morningstar). Evidently their name spoke literally about their abilities in terms of morphing their sound. Ultimately, little of what's here -- other than the bridge on "More" by the Glens and that stunning moment where the singers take off on Del & the Escorts' version of "Baby Doll" -- is close to earth-shattering, but it's all extremely enjoyable even to the casual listener, and some of it is downright stunning. All of what's here is evocative of a beautiful and innocent era in rock & roll; indeed, this is that rare kind of collector's anthology that can make converts of non-fans of doo wop music. The sound quality is exceptional and the annotation, given how little is known about any of these artists (not even photos have survived), is reasonably thorough. (Bruce Eder, Allmusic)
Because of the iconic nature of Sun Records and its universally-accepted claim as the cradle of rockabilly, there have been countless reissues over the last four decades celebrating the label’s recordings – both famous and obscure. As its title suggests, After Sun offers, instead, a substantial look at the compelling music made by those who began their recording careers at 706 Union Avenue, after they had left the cramped studio of the Memphis Recording Service for pastures new.
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Goodness, an edgie eighties guitar sound in a nineties surf stylee, with melodically structured songs. Akron, Ohio is home - big surf in Akron. Landlocked wavery with more mainstream sounds, well written tunes, and consistent quality. Thunder and brine, more than rock, less than double overhead. There are also a couple of beach-punk-pop vocal here, one called "Green Death," and the other called "Christian Cowgirl," plus "Mister Sin II." All three sport quite a twang, and that Impact V tribal tom tom beat from "Jet Stream." - Phil Dirt
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...Most of them recorded sparingly, often cutting only the two sides of a single 78, before vanishing into the mists of history, remaining now only as vocal ghosts in the digital glow of the 21st century. Those voices, however, remain amazingly powerful, and the honest coarseness and barely veiled sexual themes of these songs is oddly refreshing and hopeful, and the directness of some of these sides seems bold even by today's standards. The little-known Margaret Johnson is a case in point. Her two-sided 78, which included the to-the-point-and-suffer-no-fools "Dead Drunk Blues," a song that could only be called a blues dirge, and the bright-sounding (but not really) "Second-Handed Blues," explores the universal themes of the wages and costs of love with all the subtlety of a hammer thrown through a pane of glass. The directness is startling, revealing, redemptive, and even a little frightening. In other words, it's everything the blues should be.(Steve Leggett, Allmusic)
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...But this time out Relic has put state-of-the-art technology to work in order to clean things up, and the results are impressive. Here are the first recordings of the Clovers (Yes Sir, That's My Baby) and Lee Andrew and the Hearts (The Bells of St. Mary's, The Fairest) sounding as sharp as they are ever likely to. Additional tracks include My True Love by the Swans, You Came to Me by the Duvals (actually the Five Crowns), Don't Be No Fool by the Love Notes, Drag It Home Baby by the Jets, and Popcorn Willie by the Marquis. Great music from the dawn of doo-wop. Solid liner notes and several rare group photos. (26 tracks, 68 min., Essential, DH, Roots & Rhythm)
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...The Damned's flirtation with goth led to them signing a major label deal for the first time and enjoying one of their biggest commercial successes with the 1985 album Phantasmagoria. But if that album found the Damned looking gingerly into a new direction, 1986's Anything was the sound of Vanian and company falling down a well; fans were probably savvy enough not to expect the Damned to sound like a straightforward punk band by this point, but most of Anything barely even qualifies as rock 'n' roll. The solo keyboard piece "The Portrait" bears an unfortunate resemblance to Nigel Tufnel's "Lick My Love Pump," "Restless" and "In Dulce Decorum" meander at length for all their thunder (and John Kelly's echoing production makes everything thunders if it's meant to or not), "Gigolo" suggests a failed merger of pop and prog rock, and "The Girl Goes Down" is a faintly ridiculous song that borrows from a number of vintage pop styles without distinction. Only "Psychomania" and the title cut generate anything approximating the energy of the Damned's best music, and it's telling that easily the best song on the album is a cover, a reasonably faithful rendition of Love's "Alone Again Or." The Damned began to crumble after Anything, and the band broke up for a spell in 1989; somehow it all seemed fitting after releasing the worst original album in the group's catalog. - AllMusic Review by Mark Deming
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"Alone Again Or" was released as a single by the Damned on 6 April 1987 by MCA. They recorded it as an acknowledgement of one of their influences, the band Love. Boosted by multi-format releases (including the band's first CD single, which included the first release of their version of "Eloise" on this format) and a surreal video helmed by Gerard de Thame, the single peaked at No. 27 in the UK – the Damned's final Top 40 hit to date. The UK B-side "In Dulce Decorum" was recorded live at the Hammersmith Odeon on 12 November 1986. MCA also issued the single in the United States, their first single to be issued in the territory since "Dr Jekyll & Mr Hyde" in 1981. This release added the studio version of "In Dulce Decorum" in place of the live version on the UK release. - wiki
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…The late Joe Stubbs' two soulful rantings, "What's My Destiny," and "Hey, Hey," shows why companies sought him out to front groups; Joe sang with the Falcons, One Hundred Proof, the Contours, and the Originals. Eddie Floyd scored big at Stax records, but you won't recognize him on these early sides. Eddie sounded completely different when he sang with the Falcons, and on his pre-Stax singles. The Primettes' (later the Supremes) distinct voices can be heard on Gene Martin's "Lonely Nights" and Don Revel's "The Return of Stagger Lee." Betty Lavette's "You Killed the Love" is a haunting blues number; the Falcons add some flavorful backing vocals. Sir Mack Rice, who charted with "Mustang Sally" (later made popular by Wilson Pickett) does "Baby I'm Coming Home." The T. J. Fowler Combo shines on all the tracks. An essential item for collectors. (Andrew Hamilton, Allmusic)
...After nearly two hundred LP releases (!) he switched to compact disc in 1991reissuing some of the previously reissued material as well as a whole heap of newly unearthed material. In addition to reissuing rare 45s he has tracked down artists, record labels and recording studios resulting in releases which include alternate takes, unissued songs, demos and home recordings. Some of the releases have a regional or thematic slant but most are just miscellaneous collections. Sound quality is decent considering the origin of some of the material and the packaging is pleasing in a down home way with slim booklets with photos and label shots and occasional notes. Some of the material is of marginal musical value but almost every release has some really excellent material and the real enthusiast will want 'em all.
The 18 tracks were primarily recorded in the early 1960s for the Detroit-based Lupine (later Lu Pine) Records owned by Robert West. Not all were released at the time and none became nationally-charting singles, but they are all to be considered hidden jewels in any serious collection that focuses on the Girl Group Sound that emerged in that period. That especially applies to the two sides by The Primettes who later went on to lasting fame (and induction into the R &R Hall Of Fame) as The Supremes. Mary Wilson has the lead vocal on Pretty Baby while Diana Ross takes over on Tears Of Sorrow.
Legendary songwriter-producers Jerry Leiber and Mike Stoller took several cracks at record label ownership before finding financial and chart success at Red Bird Records in the 1960s with the Dixie Cups and Shangri-Las. Their first attempt, Spark Records, found some success with the Robins, but it wasn't until the label folded in the mid-50s, and the Robins' "Smokey Joe's Café" was re-released on Atlantic's Atco subsidiary that the single really took off.
Hailing from New Haven, CT, (home of the Five Satins, the Scarlets, the Chestnuts, and the Four Haven Knights), the original Nutmegs -- lead Leroy Griffin, Sonny Griffin (born James, he was Leroy's brother), Dieder Cobb, and a second Leroy Griffin (yes, there were two men with the same exact name) who later became Leroy Gomez -- all sang together with other members -- Walter Singleterry, Bill Emery, and Gomez's brother Tommy Griffin -- moving in and out of the lineup. The group performed on the street corners of New Haven, especially Webster and Dixon Streets, where Jimmy "Co Co" Tyson was asked to join the key lineup and soon they were a quintet. (Tyson left the group that he was singing with behind, three of whom eventually formed the rival Chestnuts combo). The Nutmegs fragmented again and some of the members left to form a group of their own, the Lyres; the Gomez brothers formed the Four Haven Knights.(Allmusic)
Adding a touch of Beatle-esque refinement to their trademark kick-your-ass garage swagger, the Waistcoats offer a bevy of new and varied recordings from London's authentically vintage Toe Rag Studios as well as a handful of now out of print gems like the instrumentals "Death Car" and "Entering the Black Hole." See for yourself why fans around the world get absolutely "waisted" everywhere they play.
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The only real mistake the Spies Who Surf made was coming too soon. They were playing surf to enthusiastic crowds around Chicago before there was any kind of surf revival on a larger scale. Perhaps if they’d been a touring band they could have started it themselves, but if they were around today the crowds that dig Link Wray, Dick Dale, Los Straitjackets and the Exotics to name just a few would totally be into the Spies. Their one and only release was this 1993 disc "Calling All Martians" and for ages even this was really hard to find.
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After digesting these 26 glorious tracks, it's easy to see just how much of an influence the gospel quartet had on everyone from doo-wop crooners such as Clyde McPhatter and soul belters such as Ray Charles to James Brown and Otis Redding. Without any instrumental firepower, the harmonizers establish a rock-solid groove while the lead singer passionately and often acrobatically testifies. Even with that basic template in place, the range of sounds can be remarkable. On the 1950 track by the Pilgrim Travelers, "Dear Lord Look Down Upon Me," leader Kylo Turner delivers a sweet and gentle falsetto vocal that will make you swoon with delight. On the Swan Silvertones' "Working on a Building," it's the intricate, vibrant arrangement that stands out. Then you have the Five Blind Boys of Mississippi's Archie Brownlee, a fiery, earthshaking lead vocalist whose raspy growls on a song like "Will My Jesus Be Waiting" will raise the hair on your neck and hurt your own throat just hearing it. And the Sensational Nightingales' Julius Cheeks, roaring through his "country gospel" adaptations, isn't far behind Brownlee. Other classic quartets such as the Soul Stirrers and the Spirit of Memphis are represented here as well. Though we tend to think of gospel as pretty simple, straightforward music, this compilation reveals all of the subtle nuances, the jazzlike improvisation, and the unbridled intensity that goes into it. Anyone with even a passing interest in secular postwar soul music will be thrilled to hear its deep roots in this record. --Marc Greilsamer, Amazon
...The only song on this CD that was a major hit is the infectious "Buzz Buzz Buzz." Otherwise, listeners are treated to excellent material that fell through the cracks, which ranges from invigorating up-tempo songs like "Strollin' on the Beach," "A Little Bird," and "Crazy" to such engaging ballads as "Give Me Back My Heart," "A Star Fell," and "My Confession." While "Frankenstein's Den" shows that the Flames could be as much fun as the Coasters, the atypical and previously unreleased "This Heart of Mine" is as brooding as something Bobby "Blue" Bland would do. For doo wop aficionados who only know the Flames for "Buzz Buzz Buzz," this collection demonstrates that they had many other inspired moments.(Alex Henderson, Allmusic)
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