1-Cd mit 44-seitigem Booklet, 24 Einzeltitel, Spieldauer 59:37 Minuten. Das Mitte Juli 2000 erschienene Buch ´1000 Nadelstiche´ von Bernd Matheja hat bereits wenig später eine ungewöhnlich breite, ausnahmslos positive Resonanz
1-CD mit 44-seitigem Booklet, 24 Einzeltitel, Spieldauer 59:37 Minuten. Das Mitte Juli 2000 erschienene Buch ´1000 Nadelstiche´ von Bernd Matheja hat bereits wenig später eine ungewöhnlich breite, ausnahmslos positive Resonanz in den Medien gefunden. Dem mehrseitigen Vorabdruck in der deutschen Ausgabe des renommierten US-Magazins ´Rolling Stone´ (Nr.8/2000) folgten erste Empfehlungen und Beurteilungen: ´The Searchers .....gaben diesem herrlichen Buch- und CD-Set den Namen. Bernd Matheja erinnert mit seinem Nobelpreis-würdigen Kompendium an jene Zeiten, als auch weniger bekannte.....Stars ihre Fans mit dem Akzent der großen weiten Welt beglückten.´ (Musikmagazin Scala, Heft 5/2000) ´So gründlich recherchiert wie möglich, und noch dazu durchgehend fantastisch bebildert.....von Seite 7 bis 244 hundertprozentig überzeugend.....Ein Geschenk des Himmels.´ (Sammler-Magazin Oldie-Markt, Heft 9/2000) ´1000 Nadelstiche ist nicht nur das bisher einzige Buch zu diesem Thema, es ist wahrscheinlich auch das beste, was jemals erscheinen wird.´ (Medium Books / Internet-Kritik) ´Album der Woche: 1000 Nadelstiche ist die skurrilste CD, die in diesem Jahr erschienen ist.....31 Perlen peinlicher Popkunst, die auf dieser liebevoll zusammengestellten CD enthalten sind.´ (Bayern 3 / Online, 10.9.2000) ´Das hochinformative, prächtig gestaltete Buch von Bernd Matheja schließt vollends eine Lücke in der musikalischen Allgemeinbildung.´ (Westdeutsche Allgemeine Zeitung, 17.8.2000) ´Mit Buch und CD wird an ein Pop-Kuriosum aus den 60er Jahren erinnert.´ (Die Woche, 24.8.2000) ´Eine wunderbare Sammel-CD.....Die CD 1000 Nadelstiche und das dazugehörige Buch belegen, wie viele internationale Stars sich damals in der Sprache Goethes und Heinos versuchten.´ (Der Spiegel Nr. 33/2000) ´Mit der ersten Dokumentation zu diesem Thema überhaupt liefert Bernd Matheja einen detaillierten Überblick über diesen bislang immer noch sträflich vernachlässigten Randbereich popmusikalischer Extremwelten, und das Ergebnis hat durchaus das Zeug zum veritablen Kultbuch.´ (Musik Woche Nr. 34/2000) ´Einschlägige Sternstunden der Popindustrie auf 244 broschierten Seiten akribisch dokumentiert.´ (Die Presse, Wien, 12.8.2000) ´Ein ungewöhnliches Kapitel deutscher Musikgeschichte.....Mit 1000 Nadelstiche bekommt man einen umfassenden Überblick über eine Besonderheit des deutschen Musikmarktes. Das Buch ist angelegt wie ein Lexikon, in dem jeder nach seinen Stars suchen kann.´ (ZDF, MSNBC/Internet) ´Serious attention has been paid to sleeve reproduction.....and the text is amazingly informative...A remarkable work.....it´s intriguing stuff.´ (Record Collector, London, No. 253, 9/2000) ´Die CD 1000 Nadelstiche ist ja schon gut, weil unglaublich originell, aber das Buch, alle Achtung, so was Ulkiges, Kurioses, habe ich – glaube ich - noch nie gelesen.´ (Helmut Radermacher, Radio NORA) ´Je weniger sie die deutsche Sprache beherrschten, desto sehnsuchtsvoller klang ihre Poesie: englischsprachige Popstars, die ihren deutschen Fans in den Sechzigern ein Ständchen brachten.´ (Kultur SPIEGEL, 8/2000, Die Treffer im August) ´Bernd Matheja hat Pionierarbeit geleistet, fünf Jahre lang weltweit Material gesucht. Am Ende sind es rund 200 Interpreten geworden, mit erhellenden und erheiternden Geschichten und Daten drumherum´. (Hamburger Abendblatt, 2./3.9.2000) ´Obwohl die deutschen Texter.....schwitzten und Beat und Pop nach allen Regeln ihrer Kunst kaputt schlagerten - mit einem Buch.....kann man sich die Kante zum Thema geben.´ (Süddeutsche Zeitung, 17.8.2000) ´Bernd Matheja hat die Auswüchse des Miefs zwischen Freddy und Alfred Tetzlaff aufgespürt.....Die Zeit zwischen 1955 und 1975 beleuchten Buch und CD trefflich.´ (Münchener, September 2000) ´1000 Nadelstiche sind grottengut.´ (Herbert Hoven, WDR 5) ´Die CD und das dazu passende Buch von Bernd Matheja mit unglaublich vielen Details werden nicht nur den Sammler musikalischer Raritäten begeistern. Note: großartig.´ (HörZu, Nr. 36 / 2000) ´Unverzichtbar ! Pflicht !´ (Milestone Mailorder, 30 / 2000) ´Das Buch und besonders die CD sind ein gründlich recherchierter und amüsanter Beitrag zur Kulturgeschichte Nachkriegsdeutschlands.´ (Lübecker Nachrichten, 6.9.2000) ´1000 Nadelstiche heißt das Buch von Bernd Matheja , das sich mit einem einzigartigen, fast vergessenen Phänomen beschäftigt......Gönnen Sie sich diesen außergewöhnlichen Spaß.´ (jpc-courier, Oktober 2000) ´Der ganz normale Wahnsinn.´ (Musik Express, Heft 9/2000)
(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
22 hard to find selections Ronnie Dove Born and raised in Herndon, Virginia, Ronnie Dove heard the roar of applause at an early age. After singing ´Away In A Manger´ in a grade school play, he knew he wanted to be a singer. He joined the glee club and during high school he sang with a group called The Rockers. After graduation he joined the U.S. Coast Guard and was stationed on a buoy tender off the coast of Baltimore. During this four-year period he would visit the local clubs and request to get up and sing for the audience. One of these clubs, a place called Elmer´s, was so impressed with the reaction of the crowd that they hired him. He was now making five dollars a night singing Elvis covers on his evenings off. Leaving the Coast Guard in 1959, he formed a group known as Ronnie Dove & The Belltones and had his first release with a song he wrote called ´Lover Boy´. The group devoted the next four years to playing the club circuit as often as seven nights a week, becoming one of the hottest acts in the Baltimore area. In the fall of 1963, Ronnie parted ways with the band and headed for Nashville. He was signed to Phil Kahl´s Diamond Record label and shortly thereafter he recorded ´Sweeter Than Sugar´, an uptempo song that did not see much success. Diamond followed this with ´Say You´ and ´Right Or Wrong´ and Ronnie had found his forte - the ballads. Followed by such songs as ´One Kiss For Old Time´s Sake´, ´Little Bit Of Heaven´ and ´When Liking Turns To Loving´, Ronnie had achieved star status. In 1965, voted by Cashbox and Billboard to be the ´Best Male Vocalist´, ´Top Singles Artist´, ´Top Easy Listening Artist´ and also ´Best R&B Vocalist´, the awards and hit songs just kept coming. Ronnie´s success was doubly impressive during this time, due to the almost complete domination of the charts by British rock groups. Both Beatle-worshipping teens and their Beatle-hating parents fell in love with Ronnie Dove. Teenage girls fell asleep at night listening to Ronnie Dove songs and dreaming of their dark-haired, blue-eyed idol. During the next ten years he was either in the studio, touring or debuting on prestigious radio and television shows such as Mike Douglas, Mery Griffin, American Bandstand, and Ed Sullivan. He performed on countless tours with Dick Clark, Shindig and Where The Action Is. With the growing popularity of disco music in the mid-´70s, Ronnie took a needed and well-deserved hiatus. He bought a home in Augusta, Georgia, and did something he had yearned to do for a long time - learn to play golf. Not able to get far from his love of music, he still worked local clubs occasionally to keep his voice in shape. In the early 1980s, Ronnie moved to Nashville and recorded a few country-flavored songs with mild success. Then came the resurgence of the ´golden oldies´, which prompted Ronnie out of retirement. Touring again and sounding better than ever, he was soon filling venues with more than 5,000 fans per show. Then in 1989, he was dealt a shocking blow. His mother, who had been his most devoted supporter through the years, was diagnosed with two aneurysms and given only three to six months to live. Ronnie again took time off from his career to take care of her. His mother lingered on for two more years with Ronnie by her side tirelessly. After her death in 1991, he again started touring throughout the United States and Canada. Music seemed to be the only thing to keep him going. Still touring today, Ronnie has just recently achieved another dream of his. He has opened a nightclub called ´The Dove´s Nest´ in Baltimore, where it all started for him. Singing his hits from the sixties and other country-flavored tunes, the fans still keep coming. There are lots of the baby-boomer fans from that era, as well as younger fans who just can´t get enough of this terrific talent. Today, although his good looks have matured, this veteran performer hasn´t lost his voice, enthusiasm or his public appeal. He still makes every lady feel that he is singing just to her. Included in this set are songs that are sure to bring back lots of fond memories. This is Ronnie Dove as you´ve never heard him before. So sit back, relax and enjoy music as it is supposed to be. Ronnie still receives fan letters and enjoys reading them all.
(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