Pretty Paul Parsons is a self-proclaimed schizophrenic, dyslexic, transsexual with Alzheimer´s, who is currently working on a process by which he hopes to cure hemophilia with acupuncture. Pretty Paul likes to spend his spare time at his Heavy Petting Zoo, where he teaches blind children the art of chainsaw sculpture and sending get-well cards to everyone in the obituary column. On this album, Paul answers the age-old question, ´´how many five-pound cement blocks does it take to fully submerge the 40 pound chunk of decomposing nun that he has hidden under his bed?´´ Tracks: 1. Introduction 2. The Playground 3. Dating 4. Tampon 5. Salad Dressing 6. Career Choices 7. Kids 8. Books 9. News 10. Mother 11. The Family Portion 12. Mr. Pretty´s Kitchen 13. Oldies Explicit Language Warning: You must be 18 years or older to purchase. 1. Language: English. Narrator: Pretty Paul Parsons. Audio sample: http://samples.audible.de/pf/lcom/000031/pf_lcom_000031_sample.mp3. Digital audiobook in aax.
Why does a song become a favorite oldie, even across generations? The problems of heart versus head versus hormones have been fodder for songs even older than one´s parents and grandparents. These three spoken ballads, originating in the British Isles but well-traveled into American Appalachia, and recorded even by some of today´s musicians, tell tales of careless love and heroism and the real (or satirical) effects of an individual´s words and actions and willfulness. With short introductions and an American accent, these tales feature strong teenaged protagonists, and one cantakerous middle-aged antagonist, who might have stepped out of news stories of today. A short sample of the traditional tune follows each reading. Music by Jamie Myerson. 1. Language: English. Narrator: Barbara Groark. Audio sample: http://samples.audible.de/bk/gork/000014/bk_gork_000014_sample.mp3. Digital audiobook in aax.
ContentreviewFirst, the fog needs to cleag: TitaniaThrifty in Scotland: Glen MoreFrom Pony Tending to the Betting Office: Kopf an KopfLying in wait in front of the finishing line: Velo CitySo Comrades, Come Rally: RevolutionNot to be taken too seriously: IdentikNot a Matter of Love But Marriages Abound: SamarkandNow We All Can be Stefan: Schlag den RaabPedestrian to the point of pain: Workshop of the WorldConstand Stepping on Other Players´ Toes: Tammany HallIn High-Heels Through Chos: AsteroydsHalfhearted: ClaustrophobiaPortraitAn American in Marburg: Bruce AllenThe LudoArtist: Frank CzarnetzkiCurrentNo Competition, But an Alternative: UK Games Expo 2010 in BirminghamLife Punishes Those Who Come too Soon: Spiel des Jahres 2010RegularsParticle Accelerators: Pures DenkvergnügenMonstrously Many Monsters: Oldie: VerliesEdition spielboxA la carte-Erweiterung: Die Beilage (side dish) (by Heidelberger)A Look BackAs wide as the Sea: Seafaring gamesInterviewBased on the Materials: Harald MückeFor KidsSchatz der KoboldeVampire der NachtKleine MagierPanic TowerMein Mäuschen-FarbspielAt A GlanceBasket Boss11 nimmt!20.000 Meilen unter dem MeerTweaks and Variations: Velo City
(2014/Ace) 25 tracks (70:55) 28 page booklet. The received wisdom is that the 70s started with prog rock, were soon inundated with disco and burnt bright and dark with punk rock as the backlash. As with most such wisdom, it is only part of the story. In March 1972 when Charlie Gillett first went on air, the bleak nostalgia of ‘American Pie’ was riding high in the charts, pretty much confirmed by the end of the year with Chuck Berry’s ‘My Ding-A-Ling’. The charts were mostly a mix of schlock, novelty, 60s leftovers and shiny new pop. Particularly shiny were the glam rockers tarted up in tin foil and pancake. Into this scene sailed Honky Tonk, a radio show that ignored the mainstream almost entirely and instead championed mostly American music, although along the way gave a break to Elvis Costello and Dire Straits among many other aspiring UK artists. Coinciding with the advent of the show, there was a revival of American 50s rock’n’roll, in what turned out to be the dawn of the re-issue business. Whereas there had previously been a sell-the-hits-all-over-again approach to ´´oldies”, many records that had never had an airing or were long-forgotten were now being heard in well-annotated and intelligently compiled releases. Charlie must take a lot of the credit for this with his seminal book Sound Of The City, which was not afraid to take seriously the business of pop music. In parallel to the 50s revival there was a wave of vernacular-based pop out of the USA, often with artists who had been around since the 50s and 60s and no longer relied on whatever good looks they once had to sell records. Instead they sold records by making very good ones. Doug Sahm, Dr John, Allen Toussaint and Travis Wammack all had career boosts around this time. These were the artists, rooted simultaneously in authenticity and pop – well, at least a good tune – who Charlie championed. Another element of his playlists was soul, the music that had captured young hearts in the UK at the dawn of R&B and remained at the centre of British taste – vibrant, totally up-to-date and not much to do with disco. Alongside this was the narrative tradition of country that still thrived and was yet to fall into assembly line mode. This was Charlie’s milieu and by the time the Honky Tonk theme played on Radio London for the last time at the end of 1978, punk rock had pretty much been and gone, Rod the ex-Mod was being sexy, disco continued banging on and Charlie was still playing great records.(Roger Armstrong)
(1992/ACE) 20 tracks (46:11) with 8 page booklet. Everybody knows ´Let´s Dance´. A million seller that has charted three times in the UK, it now enjoys the kind of status that lets you know that rock´n´roll classics are the folk songs of our time. On the back of that one big success, Montez regularly tours the oldies and night club circuits of America and Europe (he was in the UK at the end of last year on a similar visit with Len Barry). This album collects together Montez´s sides for the Los Angeles label. Monogram, including, of course, ´Let´s Dance´ and ´Some Kinda Fun´ (a No.10 in the UK in 1963). Montez started out as a ballad singer and like Ritchie Valens, a fellow Hispanic-American, was influenced as much by the rancheras (Spanish folk songs) of his youth as by his peer group´s rock´n´roll. ´´Let´s Dance´´ featured an ace group including Jesse Sailes on drums, Ray Johnson on organ, sometime Doors´ bassist Ray Pohiman and Joel Hill (later to work with Canned Heat) on guitar. Stan Ross´s engineering gave the session it´s distinctive sound. This collection is a mixture of ballads and big sound rockers that show Montez deserved more than the one-hit wonder tag he seems to be stuck with.
(Vee Jay) 28 tracks (77:00) Digitaly remasterd reissue of 2 incredible rare original 1950s LPs (VJ 1051 + VJ 1084) - superb sound quality! - This CD is a reissue of two Tee-Jay albums from 1962 and 1963, respectively, the middle of the first ´´oldies´´ revival. Their release was inspired, no doubt, by the success of Art Laboe´s Oldies But Goodies series, compilations of leased hits and misses of rock ´n´ roll´s golden age of several short years previous. The mish mash of clashing styles here shows that the powers behind these albums knew nothing of their audiences tastes and that their choices probably had more to do with which masters were available at the best price than any aesthetic judgement. Why else would they have put obscure doo-wop sides (welcome to those of us without the financial resources to purchase the originals) next to American Bandstand one hit teen wonders? The Quintones were a four female/one male group from Philly who recorded two records for the local Hunt label. Dick Clark was said to have had an interest in the company. which may account for the massive airplay on his TV show in 1958 as much as the group´s similarity to the then-popular Chantels.Harold Dorman´s one 1960 hit for the Rita label was later revived in a chart version by Johnny Rivers. Singer/accordionist Tony Bellus´s record hit #25 on the N.R.C. label. Paducah, Kentucky´s Ray Smith´s lone hit in 1960 was on Sam Phillips´s brother Juddy´s Judd label. The same year, Rosie Hamlin, raised in Alaska and transplanted to San Diego, wrote her primitive masterpiece of innocence, ´´Angel Baby.´´ It featured a sax solo so bad it was good. Released on the Highland label, the record is still heard on oldies radio today. The remaining cuts on Unavailable 16 were vocal group recordings from either Vee-Jay´s vaults or from the Chance label, label president Ewart Abner´s former employer, plus two cuts by the Orchids leased from Chicago dj Al Benson´s Parrot label. The 5 Echoes are best remembered today for the presence of Johnnie Taylor, who also sang with such gospel groups as the Highway QCs and the post-SamCooke Soul Stirrers before embarking on a successful solo career. Their ´´Lonely Mood´´ was on Chance subsidiary Sabre prior to its inclusion here. Also from Chance came these Flamingos and Moonglows sides, two of their pre-fame finest. Of the Vee-Jay initiated cuts, the Impressions feature a young Curtis Mayfield and the Delegates, a young Dee Clark. The Spaniels´ ´´Red Sails In The Sunset´´ had not been released before this album. It was subsequently bootlegged for collectors who just had to have it on a single. Original Nitty Gritty was more of a blues-oriented grouping of material. Jerry Butler and Dee Clark contributed their name value to rock ´n´ roll fans, while Rosco Gordon, Pee Wee Crayton and Billy Emerson were for the blues fanatics. I suspect that the inclusion of the remaining rare sides was less an act of generosity towards record collectors than a way of filling up the album with a bunch of stuff laying around collecting dust. Lee Diamond later was to have his moment as co-writer of Aaron Neville´s ´´Tell It Like It Is´´ and Harold Burrage´s ´´Crying For My Baby´´ was later cut in a hit version by Junior Parker. Burrage was alocal blues singer who had recorded for Decca and Cobra. Eddie Taylor and Earl Phillips played on label mate Jimmy Reed´s records. Joe Buckner sang with the band of pianist Tommy Dean and Priscilla Bowman had had a hit on Vee-Jay with Jay McShann, ´´Hands Off.´´ The value of these albums today is that more than a few of these songs haven´t yet appeared on other compilations to this day and are welcome old friends. (Billy Vera 1992)
(Charly) 16 tracks ´What Foes Around, Turn Around´ runs on old maxim which still holds true. In music, as in all things to do with fashion, tastes go round in full circle. What was passe last year can well be this year´s in thing. We´ve seen *the return of the mini-skirt and now it´s the turn of 1960´s soul music to get a much deserved resurgence of popularity. Maybe it´s a sign that I´m getting old but — the explosion of rock ´n´ roll onto the scene around 1955 excepted — I can think of no other era or musical style which possessed quite the same measure of excitement and delightful discovery as did ´Sixties Soul. True, there have been many great records in the years since but I can´t imagine ever again feeling confident enough to place a standing order with my local record shop for every single release on not one but half-a-dozen labels, knowing that I´ll like every one of them! Sue, London American, Stateside, President, Jay Boy, Chess. Atlantic, Stax and Tamla Motown, were the much-sought-out UK labels amongst soul fans in those heady days. Now, two decades later, the music is ´coming back strong´ (to quote a Tony Clarke classic from the era) thanks initially to the efforts of such re-issue labels as Charly and, latterly, to the renewed chart status of oldies from the likes of Sam Cooke and Marvin Gaye, thanks to the use of the songs in TV commercials. Clubs up and down the land are playing the classic songs to a whole new audience while the faithful minority (and it isn´t a small one) who have never deserted the music have taken the chance to stock up on fresh copies of their well-worn favourites. I´ve a strong conviction that both groups will find plenty to entertain them in this great album. Birdlegs And Pauline : The British version of the Sue label, run for Island Records by that colourful character, the late Guy Stevens, was *prized by ´60s soul music collectors for unearthing the real rarities from the American RUB scene. Many were great. some were abysmal, all were interesting. ´´Spring´´ was one of the most talked about UK Sue issues, and one of the most obscure in origin (indeed, it wasn´t until sitting down to pen this present sleevenote that I discovered they had an *album issued, on the Cuca label). From that LP´s sleevenote I´ve gleaned the following information! It was the idea of Chicago bluesman Shakey Jake to put the two together — Birdlegs (aka Sidney Banks) and Pauline (a good friend of Pearl Bailey). Cut originally for Cuca. the quirky ´Spring´ was picked up by Ewan Abner (later to be a Motown exec) for release nationally on Vee Jay. Bob And Ear : Men of many names, Bob and Earl first rocked the emergent British disco scene with the emminently danceable ´Harlem Shuffle´ back in 1963 but it wasn´t until re-release in 1969 that it cracked the UK top-ten. Bobby Relf also recorded as Bobby Garrett while his partner Earl Nelson also masqueraded on records — with some success — as Earl Cosby, Jackie Lee and Jay Dee. Just to further clarify things, the original Bob in the duo had been Bobby Byrd. otherwise known as Bobby Day, of ´Rockin´ Robin´ fame! * The original pairing had emerged from the Hollywood Flames. for whom Nelson sang lead on the 1957 hit ´´Buzz Buzz´´, and recorded for Class until 1959 when Relf replaced Byrd. ´Harlem Shuffle´ was originally released in the US by Marc, one of several LA based labels for which they recorded, usually under the aegis of producer Fred Smith and arranger Barry White (later to be a soul superstar) who devised a totally distinctive sound. With the Rolling Stones´ recent cover version having returned that group to its ´60s R&B roots, the time seems ripe for the original ´´Harlem Shuffle´´ to return to the nation´s dance-floors. Barbara Lewis : A product of the Ollie McLoughlin stable, which also included Deon Jackson and the Capitols, Barbara Lewis had an R&B chart-topper in 1963 with the superb ballad ´Hello Stranger´´, leased from McLoughlin´s Carla label by Atlantic, and quickly scored again with ´Baby I´m Yours´ and ´Make Me Your Baby´. Shades Of Blue: Of Shades of Blue I know nothing except that they were a white Detroit based act and that their ´Oh How Happy´ was written by Edwin Starr and was widely performed by British soul acts in the late ´60s. It was released in the UK on Sue. Brenton Wood: Born in Shreveport, Louisiana, on July 26 1941, Los Angeles´ based Brenton Wood wasn´t a one-hit wonder, he was a two-hit wonder! It was Double Shot Records who
(Rhino/Murray Hill) 14 tracks (5 newly remastered in Stereo) - In order to examine the way rock ´n´ roll began as a marriage of black and white popular musics. one need only look at the number of racially mixed vocal groups that emerged dunng rock´s chaotic origin. The first to gamer national recognation was Pittsburgh´s Del Vikings who scored with Come Go With Me in late ´56 early ´57. But the group that would enjoy the longest run of hits with a mixed line up was Johnny Maestro And The Crests There would be others (The Marvels immediately comes to mind). but none succeeded in establishing a sound as well as Mr. Maestro and company. The Crests began as a black quartet in 1955. Patricia Van Dross. Harold Torres. Talmadge (Tommy) Gough and J.T. Carter formed the group at P.S. 160 Junior High School in Manhattan; Carter. originally from Brooklyn. lived on Delaney St. and the rest (all from Staten Island) lived in the Allred E. Smith projects in nearby Chinatown. Singing for local functions without a permanent name, the group naturally emulated the singing idols of the day. Harlem´s Cadillacs. Harptones. and Teenagers. At the same time. Brooklyn.born Johnny Maestro (or Mastroangelo. as he was christened) from near. by Mulberry St. was already singing in a racially integrated group —a necessity, according to Maestro. There just weren´t too many white kids interested in singing black R&B in lower Manhattan at the time. Maestro met the future Crests at the Henry Street Settlement House in 1956 and joined them soon after. ´Street´ vocal groups would seek any place that offered a good echo to add timbre and depth to their a capella singing. One natural refuge was the subway. One day in 1957 the group. recently named The Crests at the suggestion of member Carter. was in the subway practicing some of the gospel harmony they had been studying. A woman. riding the train from Brooklyn. heard them singing at the Brooklyn Bridge station The wife of arch´ estra leader Al Browne. she gave her husband´s business card to the group at the subway station. The group kneew that an Al Browne had backed up one of their favorite groups. The Heartbeats. and rushed to contact him. Browne knew the owners of a miniscule record label. Joyce Records. Maestro claims that Joyce Records was two guys who ran the company from the back of a record store in Brooklyn. something quite believable given the history of many of New York´s small independent record operations at the time. The group wrote both sides of what would be their last single. My Juanita , Sweetest One: and future royalty payments notwithstanding (Maestro claims the sum of $17.50 for this single). Sweetest One - actually made the national pop charts. peaking at #87 in July 1957. Two other recordings from that session. No One To Love and Wish She Was Mine were released on Joyce a few months later without fanfare or sales. While recording for Joyce. the group was intro-duced to singer. songwriter.rarranger Billy Dawn Smith. Smith was impressed with the group and brought them to the attention of music publisher George Paxton. With the group now signed to him— minus Patricia Van Dross, who as a 15-year-old girl was not allowed to travel with the boys—Paxton formed Coed Records in early 1958. Compared to Joyce. Coed was it big league operation. Paxton had contacts throughout the industry and provided the group with some Al the best writers and arrangers on the scene, including Luther Dixon. Bert Keyes and Otis Blackwell. Coed 501 Pretty Little Angel by The Crests— inaugurated the label. While it got local airplay and local chart placement. national atten. Lion was not to be. The group´s next release. however. was a different story: it would not only twome one of the best-selling ´oldies´ of all time, but the source of some controversy in the payola hearings that would take place two years atter its release That classic. 16 Candles was originally called Twenty One Candles before someone with marketing sense aimed the song at the burgeoning teenage audience. Trade ads of the day state that the record ´broke´ immediately; it was later shown that when Dick Clark bought it share of the publishing in the song. the record began being featured almost daily 011 American Bandstand. and success followed directly. The song peaked at 12 on the national charts and The Crests were on their way. Appearances with Clark and Alan Freed. among others. strengthened the group´s stage acumen: their show featured some
7-CD Box, LP-Format, mit 144-seitigem gebundenem Buch. 134 Einzeltitel. Spieldauer: 453:33 Minuten. Der letzte Teil der Bear-Family-Dokumentation über Rick Nelson s gesamte Plattenkarriere enthält alle späten Aufnahmen von 1970 bis 1982, die viele Fans für Rick Nelson s beste überhaupt halten, darunter seinen letzten großen Hit Garden Party . Enthalten sind die vollständigen ´Back To Vienna´-Sessions, produziert von Al Kooper . Die meisten Titel blieben damals unveröffentlicht. Weltpremiere für die kompletten ´Memphis Sessions´ (1979) - so wie sie aufgenommen wurden. Hinzu kommen viele seltene und bislang unveröffentlichte Titel, darunter die noch nie zu hören gewesenen 1974er-Studioversionen von Mystery Train und California Free . ´The Last Time Around´ beschließt das auf drei CD-Boxen verteilte Gesamtwerk von Rick Nelson . Das neue Set beginnt mit vier Alben, eingespielt mit der Stone Canyon Band : ´Rick Sings Nelson´, ´Rudy The Fifth´, ´Garden Party´ und ´Windfall´. ´Garden Party´ enthält selbstverständlich seinen letzten großen, gleichnamigen Hit - und Rick Nelson s Ankündigung, dass er nicht zu einem ´Oldies-Act´ werden wolle. Es geht weiter mit der für Epic eingespielten ´Intakes´-LP und mit dem Capitol-Album ´Playing To Win´. Damit nicht genug: Bear Family präsentiert erstmals zwei komplette, nie erschienene LPs: ´Back To Vienna´ (in Hollywood produziert von Al Kooper und eingespielt mit herausragenden Sessionmusikern) sowie ´The Memphis Sessions´, produziert von Larry Rogers und mit einer sehr ansprechenden Band, besetzt mit fast ausschließlich lokalen Studiogrößen. Weitere Höhepunkte: ein kompletter (nie zuvor veröffentlichter) Liveauftritt mit der zweiten Besetzung der Stone Canyon Band sowie reine Single-Tracks, zusätzliche Studiosessions und sogar einige Werbejingles. Das 144seitige Hardcover-Begleitbuch enthält dutzende Fotos und andere Abbildungen, eine vollständige Dokumentation aller Sessions und einen Karriereabriss (25.000 Wörter) von Todd Everett , der schon die hochgelobten Begleittexte für die beiden ersten Boxen ´An American Dream´ und ´For You´ geschrieben hat. Die nicht zu toppenden Informationen aus erster Hand enthüllen, was bei den Studiosessions wirklich passierte. Auch wenn Rick Nelson s späte Einspielungen nicht mehr das kommerzielle Volumen seiner Frühwerke erreichten, sind sie ein Beweis dafür, dass sie sich qualitativ nicht davon unterscheiden. Kein Zweifel - Rick Nelson hat gerockt!