Split between demos and more polished material, Free Range Chicken is a wildly eclectic and raucous debut, offering forays into rockabilly ("Rockin' Daddy"), surf ("Wipe Out"), straightforward country ("There Stands the Glass") and the self-explanatory ("Guitar Polka"). ~ Jason Ankeny, All Music GuideFunny, silly, definitely rough. A real hoot. Somewhere there's a video of these old-timers doing "Driving Nails in My Coffin". NOT for you Top 40 country music fans. - By Andrew H. Howard (Mason, MI United States)
The Country Rockers:Sam Baird - sangs & plays guitar, dobro / Durand Easley - plays bass & sangs, ukelele, ca-poed guitar, lap steel, co-co nuts, musical handsay, telecaster, organ / Gaius "Ringo" Farnham - plays drums & sangs and : Sonny Williams - Tenor Sax / Alex Chilton - harmonica / Barbara Moler & Paul Tomes - Brass / Roy Brewer - Fiddle / Misty - Tambourine, Triangle / Jim Crosthwait - Washboard / Dr. Glass - Steel Guitar / Lisa McGaughran - bckgr vocals
produced, recorded & mixed by Doug Easley at Easley Recording, Memphis
trax:
1. Rockin' Daddy 2. My Bucket's Got A Hole In It 3. Finally 4. Wipe Out 5. Pistol Packin' Mama 6. See You Later Alligator 7. Drivin' Nails In My Coffin 8. Fan It And Cool It 9. There Stands The Glass 10. Rancho Grande 11. My Happiness 12. Guitar Polka 13. Barrooms To Bedrooms
Anyone who enjoyed "Tally-Ho" by P.J. & the Galaxies on Rhino's Legends of Surf Guitar Vol. 1 need look no further than this 25-track collection, 14 of which are by the very same band. Also present are instrumentals by P.J. & Artie and the Journeymen, the latter one of the very first surf instrumental outfits in L.A.'s south bay area, dating from 1959. The material here might offer the prospect of a certain sameness, but the listener is in for a surprise -- P.J. and the Galaxies had some real musical smarts when it came to finding and choosing material to record. Paul (P.J.) Johnson was a gifted guitar player and composer in his own right, but he knew a good tune when he heard it, and had the band cutting versions of Terry Gilkyson's "Wild Goose" and even a surf guitar excerpt of Bedrich Smetana's "The Moldau" (!!!!!) that works; he also reached out to repertory by the British instrumental band the Shadows ("The Rise and Fall of Fingel Blunt"), as well as grabbing solid rock & roll standards ("Rockin' Pneumonia and the Boogie Woogie Flu"). What's more, they had a surprising elegance in some of the handling of their instruments, and could play in several "voices," all very danceable. In any case, they cut tracks that were different enough to make up a strong album. The sad irony is that only one track by the band on this collection has ever appeared before, anywhere -- one wonders how the members who've survived feel hearing it on CD 30-odd years later. Now P.J. & Artie (Art Fisher), on the other hand, have a slightly rawer guitar sound, with more punch -- for example, their version of "They Call The Wind Maria" from Lerner & Loewe's Paint Your Wagon, which starts in a "Little Drummer Boy" beat, breaking into a full shake-and-shimmy finale. And then there are the Journeymen, lead by guitarist Lonnie Fredericks, who could win a Dick Dale award for surf band excellence if there were one -- they play with fire and a lot passion, raw virtuosity down to every one of Roger Piersall's drum rolls, ornamented with some mean sax. The sound is first-rate, and the notes are detailed, deeply evocative of the period and the people, and a delight in their own right. ~ Bruce Eder, All Music Guide
...The Chaparrals were an entirely typical group of their time, playing in the style of the Stones, or the commercial pop-rock of the Five Americans, without adding anything notable of themselves; all seven of their tracks were previously unreleased. The Briks did manage to get a single in the local Top 20 (the folk-rock-flavored "Can You See Me," included here), but they're just about as anonymous. The most interesting song on the album, oddly, is the Briks' cover of Cream's "NSU," which invests that heavy rock classic with a certain light innocence. - AllMusic Review by Richie Unterberger
trax:
trax:
...Mildly above the norm are the folk-rock-pop originals by the Novas, which show more thoughtful songwriting than the usual garage combo, and the Word D's wonderfully titled "Today Is Just Tomorrow's Yesterday," which is nice gentle folk-rock with a female vocal lead. - AllMusic Review by Richie Unterberger
trax:
...Highlights include explosive numbers and pieces of rough-edged rock & roll, such as “Hoy Hoy,” “Hop, Skip and Jump,” and “Mercy.” Also featured here are lesser known numbers which are just as enjoyable as the classics. This is an essential set for rockabilly fans interested in the birth of the genre.
trax:
trax:
...The cuts by the Cavaliers, Christopher & the Souls, Jeanne Hatfield, and the Cavaliers are nothing special, but the ones by the Headstones and the Playboys of Edinburg are on a different level. The Headstones' "Wish She Were Mine" and "24 Hours" are two of the better Texas pop-punk singles, especially the latter, with its bluesy grind. The Playboys of Edinburg, in contrast to the usual Texas group found on these compilations, played tasty Byrds-like folk-rock with nice harmonies and a slight country feel; they were even signed by Columbia, although they never reached a national audience. - AllMusic Review by Richie Unterberger
trax:
...Features an all-star backing from the likes of Otis Span, Little Walter and of course Muddy Waters. His best known numbers, many of which are now blues standards are all featured including, 'Words in a Tangle', 'That's Alright' and 'Walking By Myself'. The latter being covered by Freddie King, Magic Sam and Gary Moore amongst many others. If you like Chicago blues then this will not disappoint!
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
trax:
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
Jerry has always lived this way. Therefore, I would like to thank the Killer for the many hours of Rock and Roll he has given to all his fans. The first time he played in public was in the Ford agency in Ferriday. The local dealer was introducing his new line while a country & western band was playing in the car lot. Jerry joined in for about 20 minutes, singing and playing the piano on "Drinkin' Wine Spo Dee O Dee". He was just thirteen!
trax disc 2:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
...Coming from a gospel-singing background in Tennessee, she recorded for the King, Okeh and Savoy labels, scoring Top 10 R&B hits with songs like Gabbin' Man, Way Back Home and My Country Man, as well as recording the original version of Whole Lotta Shakin' Goin' On, later covered by Jerry Lee Lewis. This great-value 53-track 2-CD set comprises all her A and B sides for those label from her solo debut for King in 1947 through to 1959, along with the tracks from her two albums for Savoy which were not otherwise released on singles. It's a thorough trawl through her core career, and is a worthy tribute to a highly distinctive and influential entertainer. It comes with substantial booklet notes including full recording session and personnel details.
...The Cyrkle's debut was a pleasant, if marginal, album, blending a light folk-rock flavor with fluffy pop/rock production and songwriting. "Red Rubber Ball" and the follow-up hit, "Turn-Down Day," were, as one might expect, by far the best cuts. The rest was split between group originals and odds and ends from an assortment of other writers, including a cover of the Paul Simon-Bruce Woodley composition "Cloudy" that predated its appearance on Simon & Garfunkel's Parsley, Sage, Rosemary & Thyme album later in 1966. On the whole, it's feel-good and not terribly deep 1966 pop/rock, heavy on the breezy harmonies, occasionally using mild touches of experimentation, like the sitar on "Turn-Down Day," and inventively reverbed guitars. - by Richie Unterberger
trax:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
Crawling out from the weed-choked lots of the once proud town, The Detroit Cobras whip out ass-shaking anthems to good times, wild times, and the high and lows of L-U-V; you best believe it and you best not mess with it. Blurring the lines between R&B and R&R and soul, the Cobras are THE go-to party band for those in the know. Singer Rachel Nagy and guitarist Mary Ramirez are the bad girls by the exit doors at the school dance, all leather and heels, sneaking smokes and passing the flask. They have no time for dewy-eyed love songs or girl group decorum; they’ll take care of business themselves with a bat of the eye or an elbow to the kidney. Rachel’s "warm as the half pint ofbourbon under the seat of your car" voice can boom to the back pews (Did we say "pews?" We meant "barstools") and Mary’s riffs let you know that love and good times can be found in the tilt of a hip or at the end of a fist. "You should hope and pray that they play your party."— Spin
Credits:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
...The series is done by Norton records in support of DJ Jonathan Toubin – who's created a unique groove on the New York scene by starting with Northern Soul, then working his way backwards into a range of grittier styles from the early years of soul and rock as well! The Soul Clap specialty is the rare 45 from the years before funk – and tracks on the collection really live up to the fire and spirit of their legendary nights. © 1996-2018, Dusty Groove, Inc.
trax:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
...The series is done by Norton records in support of DJ Jonathan Toubin – who's created a unique groove on the New York scene by starting with Northern Soul, then working his way backwards into a range of grittier styles from the early years of soul and rock as well! The Soul Clap specialty is the rare 45 from the years before funk – and tracks on the collection really live up to the fire and spirit of their legendary nights. © 1996-2018, Dusty Groove, Inc.
trax:
Although Dave Brubeck and Paul Desmond made many rewarding recordings together, this was their only duo album; it was inspired by several duo performances on board a cruise ship. Their magical ESP is evident from start to finish. Brubeck's lyricism throughout these sessions will surprise critics who label him as "bombastic," while Desmond, known for his pure dry-toned alto sax, throws a few curves to his longtime fans. The loping waltz treatment of "Alice in Wonderland" and a delicate interpretation of the Mexican folk song "The Blue Dove" contrast with their abstract approach to "Stardust." The especially adventurous introduction to Brubeck's oriental blues "Koto Song" opens with Desmond providing percussion by tapping on his instrument's keys without blowing; the piece then slowly evolves from random-sounding fragments into its haunting theme. Their return visit to "Balcony Rock," a collaborative effort from the 1950s, is an absolutely buoyant miniature. Brubeck performs his "Summer Song" alone in a mood of celebration, unlike the wistful flavor of his first recording of it with Louis Armstrong. The audio source for "You Go to My Head" is a BBC videotape made during the concert which inspired the making of this album, but the memorable interaction between the two musicians during this performance should be considered one of the high points of their respective careers. This is an essential acquisition for fans of Dave Brubeck and Paul Desmond. - AllMusic Review by Ken Dryden
trax:
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
...If the collection seems like overkill, that's because it is, and there's some poor material here from the late '60s and early '70s, when Bo was searching for a new commercial sound, although some of the latter isn't really bad -- his covers of Al Kooper's "I Love You More Than You'll Ever Know" or the Band's "The Shape I'm In" from Another Dimension are soulful and moving, but just aren't what one buys a Bo Diddley album to hear (along with the girlie chorus on "Bad Moon Rising"). There are more than enough jewels -- and jewels that are likely never to appear otherwise on compact disc -- to attract serious rock & roll listeners, if you can swing the price, which is around $120. The highlights (which would be far more costly to find on vinyl today) include "Bo Meets the Monster," his catchy (and very funny) answer to "Purple People Eater"; "Here 'Tis," which became famous when covered by the Yardbirds, but only really comes to life in the hands of the originator; the comical "Bucket," "Lazy Woman," and "Run Diddley Daddy"; the rousing, slashing "Puttentang"; the side-splittingly funny biographical song "All Together," a sort of sequel to "The Story of Bo Diddley"; the complete Bo Diddley's Beach Party album, and a handful of demos from the late 1960 sessions that yielded tracks for the Bo Diddley Is a Twister album. Additionally, the collection gives the listener a chance to see how Bo explored different variations on his sound, adapting it to doo wop, folk, and even calypso, all of which worked better than one would have expected, plus soul and funk, which didn't. The sessionography is very detailed and pretty cool, and the notes are among the better biographical accounts of Bo's life and career -- oh, and there are lots of pictures of Bo and the Duchess re-created throughout the set. There are problems with the mastering, however -- momentary gaps exist in one or two songs, and the sound quality in certain places, such as the live Beach Party material, leaves something to be desired. But at its best, and that is often (at least through the mid-'60s), this set presents one of the primal forces in rock & roll. - AllMusic Review by Bruce Eder
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
...The series is done by Norton records in support of DJ Jonathan Toubin – who's created a unique groove on the New York scene by starting with Northern Soul, then working his way backwards into a range of grittier styles from the early years of soul and rock as well! The Soul Clap specialty is the rare 45 from the years before funk – and tracks on the collection really live up to the fire and spirit of their legendary nights. © 1996-2018, Dusty Groove, Inc.
trax:
Jerry Lee's distinctive version of Ray Price's 'Crazy Arms' was his Sun debut, but it was his second single, a revival of Roy Hall's 'Whole Lotta Shakin' Goin' On' in 1957 that propelled him to international fame. The record, which was initially banned as obscene, narrowly missed the top of the US chart. He stole the show from many other stars in the film Jamboree in which he sang the classic 'Great Balls Of Fire'. He kept up the barrage of rowdy and unadulterated rock with 'Breathless', which, like its predecessor, had been written by Otis Blackwell. He arrived in Britain for a tour in 1958, accompanied by his third wife, Myra, who was also his 13-year-old second cousin. The tour had to be cancelled after only three concerts. The furor followed Lewis home and support for him in his homeland also waned. His last big hit of the 50s was the title song from his film High School Confidential. After a decade playing rock 'n' roll, Lewis decided to concentrate on country material in 1968. He also kept the rock 'n' roll flag flying by playing revival shows around the world. Lewis was one of the first people inducted into the Rock And Roll Hall Of Fame in 1986. Tragedy, scandal and, above all, rock 'n' roll have seldom played such an intrinsic role in one musician's life.
trax disc 1:
Sir Bald is back - badder and balder than ever before. A brand new from one of Britain's best exponents of Garage Rock'n'Roll, Surfin' Instros, and Pounding R&B - Baldie has never sounded better! "The Man With Two Left Hands" is a truly monstrous release, brimming over with string-bending guitar work and great vocal renderings, with blasting saxophone and a relentless thumping beat.
trax:
%2045%20-%206427B.png)
.jpg)
%2001.jpg)
