(2015/JAT Publishing) hardcover, 23.5x26.5cm, 96 pages of rare b&w photographs. - ´From St. Paul To Fort Wayne´ will be a photo journal covering Elvis´ appearances in St. Paul, Minnesota in October, 1974 and his appearance in Fort Wayne, Indiana on October 25, 1976. There will be roughly 120 unpublished photos in this title. From St. Paul To Fort Wayne by Joachim Bernecker (aka ´´Ciscoking”) / Joseph A. Tunzi Elvis Presley’s performances in St. Paul, Minnesota on October 2,1974 is featured prominently in this book. There was another show on October 3rd both of these performances were evening shows beginning at 8.30 pm. These concerts were part of ´´tour no. 12” which started on September 27 in College Park, Maryland and concluded on October 9 in Abilene, Texas. In total the star delivered 15 sold out shows in 9 different cities. On October 2nd Elvis entered the stage dressed wearing his beautiful Peacock jumpsuit as 17.163 screaming fans greeted the King. He did his usual opening routine with See See Rider, I Got A Woman and Love Me and he caused as much excitement as ever near the stage when he started tossing out scarves. The fans loved his oldies although he already didn’t care much about them anymore. He had done them too often. But he could still prove his musical talent when it came to more recent songs like Let Me Be There, If You Love Me Let Me Know or It’s Midnight or ballads like Hawaiian Wedding Song. The never ending ovations for such moments were proof enough that Elvis had done it again. And when he moved his body to certain songs like Polk Salad Annie in his inimitable way, the fans couldn‘t be held in their seats. The October 3rd experience in St. Paul where Elvis wore the Chinese Dragon Suit also received positive reviews.
(2013/RamaLama) 27 Titel der Los Llopis (was soviel wie ´Die Llopis´ bedeutet ?) mit genialen, spanischen Versionen von Rock´n´Roll Super Hits, Latino Schmalz und eigenen Krachern. Der Stil von Los Llopis erinnert an den Ostküsten Rock´n´Roll von Bill Haley und Freddie Bell, aber die Jungs haben auch Paul Anka und Johnny Ray, plus einiges mehr drauf. Es wird gemunkelt, das die Brüder links und rechts auf dem Cover, bei einer Stierkampfveranstaltung in Pamplona ein Konzert der Treniers gesehen haben, eine Vision hatten, und dann Rock´n´Roller wurden. Das 2-CD Set kommt mit 16 Seiten Booklet (spanisch - aber auch Fotos) und ist für alle Rock´n´Roll und Oldie Freunde 100% empfehlenswert!***** (Bear Family Records)
(2017/Music Tales) 50 Tracks - 1946-1960. Bully Buhlan wurde am 03.02.1924 als Hans-Joachim Buhlan in Berlin geboren. Schon während seiner Schulzeit war er Pianist in einer Schülerband und hatte bereits 1943 mit eigener Kapelle erste Auftritte im Rundfunk. Um sein Jura- und Volkswirtschaftsstudium zu finanzieren, arbeitete er als Klavierspieler in einer Bar. 1945 holte ihn der damalige Orchesterchef Michael Jary in das neu gegründete Radio Berlin Tanzorchester. Er erkannte Buhlans Gesangstalent und machte ihn zum Sänger des Orchesters. Die neu gegründete Amiga machte mit Bully Buhlan erste Plattenaufnahmen, mit denen er sich als Schlagersänger schnell etablieren konnte. Mit „Gib mir einen Kuß durchs Telefon´´ folgte der erste größere Erfolg, jetzt bei der westdeutschen Odeon. In den frühen 50er Jahren entstanden die für Buhlan typischen Lieder „Ich hab‘ mich so an dich gewöhnt´´ oder „Hab’n Sie nicht ’ne Braut für mich?´´. Neben seiner Karriere als Sänger trat Bully Buhlan auch in mehr als 30 Filmen auf. Große Erfolge feierte er im Duett mit Rita Paul und mit Mona Baptiste, mit der er seinen größten Hit „Es liegt was in der Luft´´ hatte, der es bis auf Platz 2 der damaligen Charts schaffte. In den 60er Jahren trat er vorwiegend im deutschen Fernsehen auf, während das Interesse an seinen Platten abnahm. Den Berlinern ist er natürlich mit seinen Berlin-Liedern wie „Ich hab‘ noch einen Koffer in Berlin´´ im Gedächtnis geblieben. Im Zuge des Oldie-Revivals in den frühen 80er Jahren plante er eine Comeback-Tournee, doch sein unerwarteter Tod am 07.11.1982 nach einem Herzinfarkt machte alle Pläne zunichte. Er wurde in seiner Heimatstadt Berlin begraben.
(Relic) 18 tracks - Certainly one of the most consistent popular oldies record over the years has been The Mellokings´ ´Tonite Tonite.´ Strangely enough, the song was not a hit when released (except in certain regions) nor does it seem to have ever been a staple of street corner groups. In spite of this, it is usually in the Top 5 of most oldies surveys. The group responsible for this enigma was from Mount Vernon, New York. In 1956, they got together as a result of try-outs for a version of ´South Pacific,´ being held at Washington High School. Arranger Dick Levister liked the way some of the hopefuls sounded and formed them into a group, initially known as The Mellotones. The members at the time were: Jerry Scholl (lead), Robert Scholl (tenor), Eddie Quinn (second tenor), Neil Arena (baritone) and Larry Esposito (bass). The group´s main influence was Frankie Lymon and The Teenagers, the originators of the ´kid-sound´ in popular music. In fact, The Mellotones were told they sounded too much like The Teenagers, so to create a different sound, Bob Scholl switched to lead. Prior to recording, the group used to attend New York City shows where they were most favorably impressed by Little Anthony and The Duponts and the above mentioned Frankie Lymon and The Teenagers. One night they were appearing at an amateur show, when they met a songwriter named Joe (whose last name has long since been forgotten). He promised to arrange an audition for them, if they would reciprocate by using it to sing one of his songs. When they agreed, he brought them to Al Silver, owner of Herald and Ember Records. Silver was taken with the group and signed them on the spot (although he hated Joe´s tune). Billy Myles (most widely known for his recordings of ´The Joker´) was a staff songwriter for Herald/Ember. He auditioned three or four songs for the guys. The only one they liked was ´Tonite Tonite,´ which they took home, rehearsed, and then brought the finished vocal back to Silver a week later, who said ´Let´s go into the studio immediately and cut it.´ From the time they first auditioned for Herald, it was less than a month later that the finished record was on the market. After about a thousand copies had been pressed, everyone discovered that there was another Mellotones group around, with a record on the charts. A quick name change was in order and the ´Mellokings´ were born. (The ´King´ part came from Dick Levister´s middle name.) The record, although it has sold over 2.5 million copies to date, never made it past number 87 on the national charts for 1957, hardly qualifying for hit status. In fact, everything happened so fast (or so slow) that the group never even realized that they had a hit. With the success of TONITE TONITE, the group went on the road doing one-nighters, sometimes for as long as three months at a time. Jerry Scholl, being of small stature, used to sleep in the luggage rack above the seats. On one tour, his ´rack-mate´ was Paul Anka. At their second session, the group cut ´Sassafras,´ a Bob Crewe composition. It, as well as all subsequent releases, did not do well on the charts. Since they had a ballad on the market, The Mellokings felt that it was wrong for Herald to have pushed ´Sassafras´ as their next release. In all the time they were with Herald, they never cut anything they wanted to cut. When asked the reason why none of their subsequent recordings went high on the charts, Jerry Scholl said, ´Just the way the business was run in those days. The capital wasn´t there. I think Herald wanted to back up TONITE TONITE with as big a hit but just didn´t have the resources. Distribution was a big problem. You were trying to go up against the big companies. Here we were, a little operation. You had to hire peddlers in the street to run around with the record trying to break it in small towns and then start all over again. That was the difficulty in those days. ´ However, Al Silver is remembered fondly by the group. He constantly had recording sessions for them. Unlike most record companies of the day, Herald stood behind its artists with as much promotion and financing as possible. The Mellokings appeared on the Dick Clark Show with every new release and did hundreds of radio programs. Jerry recalls doing the Clark Show at the time of their fourth or fifth release (just after ´Tonite Tonite´ was re-released) and Clark would not let them do the new song. They had to do ´Tonite Tonite´ as it was then the #1 record in
(2000/ACE) 24 tracks Die bahnbrechenden Tanzplatten von Hank Ballard & the Midnighters mit ihrer Originalversion von´The Twist´. Dies ist das erste Mal, dass Hank Ballards Tanzklassiker, die zwischen 1955 und 1969 für Federal und King aufgenommen wurden, in einer Sammlung zusammengefasst sind. Einige Projekte kommen nicht von heute auf morgen zustande und diese Zusammenstellung ist ein Beispiel dafür. Die Idee entstand bereits 1992, als Paul Harris und ich die Gelegenheit nutzten, Hank vor seinem erfolgreichen Auftritt bei der Blues Estafette in Utrecht zu interviewen. Acht Jahre später, und ich denke, das Warten hat sich gelohnt. Die Musik klingt gut und die Geschichten halten gut. Hank Ballard und die Midnighters waren an der Spitze der Tanzwelle, die sich um die Wende der 1960er Jahre ausbreitete. Der Grundstein des Genres war The Twist, geschrieben von Hank selbst, obwohl Chubby Checker´s Coverversion ewigen Ruhm erlangte. Hank´s Original-Schnitt von The Twist ist hier enthalten, zusammen mit seinen anderen großen Hits Let´s Go, Let´s Go, Let´s Go,,, The Continental Walk und Finger Poppin´ Time (die 45er Version, nicht die mit dem oft verfolgten 40-Sekunden-Schnitt). Aber es gibt noch viel mehr, angefangen mit vier Veröffentlichungen im Namen der Midnighters von 1955 bis 1957, darunter Henry´s Got Flat Feet (Can´t Dance No More). Nach The Twist Hit Paydirt, Hank genoss eine goldene Ader mit nicht weniger als 10 anderen Dance-Hits zwischen 1960 und 1962. Zwangsläufig gab es eine Abkühlungsphase, als der Tanzwahn nachließ und die Soul-Ära zu beißen begann. Aber, anpassungsfähig wie immer, gab Hank seinen neuen Tanzliedern einen Soul Beat, insbesondere Funky Soul Train und den James Brown-Typ Butter Your Popcorn. Dieses Set wird Fans von Rock´n´ Roll Oldies, Vokalensammlern und Tänzern gleichermaßen begeistern. Lass die Hüften schwenken und komm schon, Baby, lass uns den Twist machen! Von John Broven
(Michelle) 12 tracks - Originally sealed 1963 ´Michelle´ LP album - This album came out on ´Montel´ as well - also in 1963 but with two different songs, which were ´Tip Of My Finger´ and ´Gee Baby´ It was 2 a.m. and a young couple sat at a piano in Baton Rouge, La., running through some songs they would record the following day in New Orleans. Dale Houston, with his songs out of the way, was helping a young recording a:vtg her arrangements zernmuesnitItnh: tvvvir clod. meant gih ilerabcuet as Broussard suggested they sing a couple of old songs together´. ´´Just For Kicks´´. Here in the home of record producer Sam Montel, the exciting ´Dale and Grace´ sound was born. So impressed by their ability to blend their voices together in a different sound, they were recorded the next day by Sam Montel, and Sam´s arranger-guitarist Kenny Gill. ´I´m Leaving It All Up To You´, once played for the Deejays at my station so im-pressed all of us that it was selected as our pick-hit of the week (an honor usually left to the hot labels and their artists), and our judgment was right, as the rest is now history, Dale and Grace were born and Sam Monte!, after years of struggling to get that first ´´Big One´´, controls one of the hottest singing groups in the country. Now, outdoing themselves Dale and Grace blend their voices together and present for their many new fans a collection of great songs. You´ll identify many of the tunes contained herein as hits of the past. but somehow they´ll take on a new feeling, a new meaning, and I´m sure you´ll agree with me when I say these oldies never sounded better. The same great ´Bayouland´ sound that made ´I´m Leaving It All Up To You´ one of the biggest sellers in our country is contained in every song in this great album. As for Dale and Grace, their sound remains as fresh an orig.inal as it was when you first heard the melody of ´I´m Leaving It All Up To You´. I know that this particular album will be the favorite of many people, just as it is already my favorite. But I´ll invite your comments...or should I coin a phrase and just say: ´I´m Leaving It All Up To You´! Chuck ´Baby´ Adams - Radio Station K-NUZ- Houston, Texas On behalf of Michelle Records I would like to thank the rest of the team for helping make this album possible: Carol Rachou of La Louisiane Recording. Cosimo Matassa of Cosimo Recording, Bill Holford of ACA Recording. Kenny Gill for his outstanding technical arrangements, The Lively Sisters. Leo O´Neil, Paul Berlin. Ken Elliot and Tommy Guarino. I would like to personally thank Huey Meaux, the south´s most successful record producer and promotion man, for his keen ear in selecting ´I´m Leaving It All Up To You´ as a hit, and all the wonderful distributors and DJ´s and last but not least, Dale & Grace. Sam Montel, Producer