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Titel: Les Hurlements D´ Leo Chanent Mano Solo - Les Hurlements d´LéoFormat: Audio CDTracks: Disc 1:1. La Lune - Les Hurlements D´léo 2. Le Monde Entier - Les Hurlements D´léo / Solleville, Francesca 3. La Révolution - Les Hurlements D´léo / Futur, Arno
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(Radiant Future Records) 15 Tracks - Former Sparks and Radio Stars bassist Martin Gordon returns with his eighth solo album! Martin has worked with the Rolling Stones, Primal Scream, Blur, Boy George and Kylie Minogue. This album continues his o
(Radiant Future Records) 15 Tracks - Former Sparks and Radio Stars bassist Martin Gordon returns with his eighth solo album! Martin has worked with the Rolling Stones, Primal Scream, Blur, Boy George and Kylie Minogue. This album continues his own brand of guitar-driven pop with a dark, yet still melodic, edge. Targets include Brexiteers (‘Idiots’) and Donald Trump!
(2017/Modern Harmonic) 2 tracks, Blue Vinyl Celebrate the birth of a major recording career- with Chester ´Chet´ Atkins’ debut single! Chet (then Chester) recorded ´Guitar Blues´ in 1946, at the young age of 22. Here, Chester tells us a story of through 2 minutes and 53 seconds of rhythmic thumb-picking melodies, a playful chorus by Dutch McMillin on clarinet, and harmonized twin-guitar leads with Roy Lanham. Chester also delivers a solo worthy of his idol, Les Paul. ´Brown Eyes A’Cryin’ in the Rain´ was penned by Bullet Records’ co-owner (and future Oak Ridge Boy) Wally Fowler, and Curly Kinsey. Featuring a vocal by Jack Shook and Dutch McMillin on clarinet handling the main solo, Chester fills in the space behind the singer and wraps up the ending in signature snappy fashion. Modern Harmonic is proud to present Chet’s first record, reissued for the first time- and on blue vinyl!
(2000/Westside) 18 tracks booklet. African-American Influences On Reggae 1963-73 She-Boon She-Boom ´The Big Beat Keeps You Rocking On Your Feet´... ...And it came to pass that the American Rhythm & Blues of the 1950s and early 1960s begat reggae. Well, almost . Before Jamaica´s national music - and its most outstanding world export - became ´reggae´, it inevitably passed through several stages of metamorphosis. First there was the shuffle. the island´s own individualistic representation of the sounds that beamed daily and nightly from clear-channel R&B stations in America´s deep south - stations that could be heard the length and breadth of Jamaica when good weather conditions prevailed - and over massive sound systems at blues dances island-wide. The whole Ja. music industry that we know today stems from the shuffle, which was initially created to satiate demand for this style after the American R&B scene had moved on and away from it. Eventually the shuffle evolved into Ska, itself still influenced to a degree by the pre-Soul music of Black America. And as US R&B ultimately moved to the backburner to let Soul take over in the mid 60s, so Ska gave way first to soul-influenced rock steady and, eventually, to reggae - but those R&B influences never totally left Jamaican music. as you´re about to find out if you´ve bought this compact disc... To complement its two volumes of reggae versions of soul originals. ´The Music Got Soul´ (WESA 847) and ´The Music Got Mo´ Soul´ (WESA 848), Westside´s compilers-that-be now present a dozen and a half tracks which all have their musical origins in the aforementioned pre-Soul era but which successfully adapted to a Jamaican treatment. Presented in a chronology approximate to their original release date (these versions. not the US originals), they show how important American R&B was to the evolution of what we now know as reggae. Few would dispute this writer´s assertion that you couldn´t have had one without the other... Several of the acts featured herein actually started their careers in this pre-Soul era. Thus it´s entirely appropriate that the oldest song to feature. Joan Whitney and Alex Kramer´s ´Ain´t Nobody Here But Us Chickens´ -originally recorded by, and a # 1 R&B, # 6 Pop hit for, the great Louis Jordan in early 1947 - should be performed by the one of the first Jamaican artists to record locally. Lascelles Perkins made his debut recordings in the mid 1950s for Clement ´Coxsone´ Dodd. 20 years before his amusing version of ´Chickens´ (complete with speeded-up, Chipmunk like backing vocals by ´The Chicks´) hit the racks in mid-1974. An old-fashioned crooner with a distinct Nat ´King´ Cole influence. Perkins had been only semi-active as a recording artist for some years prior to this recording - but was still singing in the early 80s. when he cut a version of another Whitney/Kramer song much beloved by Jamaican singers. ´No Man Is An Island´. for his brother-in-law Dodd´s Studio One imprint. Another of those who was ´there at the start´ was Derrick Harriott, and it´s Derrick who provides us with the earliest recording on this CD. A more than capable tenor with a distinctive, melodic falsetto, Harriott had not long departed his colleagues in the Jiving Juniors to begin a lengthy career as a solo when he cut his own. slow-soul version of Donnie Elbert´s ´What Can I Do´ (De Luxe. 1958). The song had been a big ´end-of-night´ closer for sound systems for years. Derrick interspersed the verses of ´What Can I Do´ with a recitation that he had borrowed from ´All I Could Do Was Cry Part Two´. an early. torrid performance by future soul star Joe Tex (Anna Records 1959). To round the whole thing out he also threw in a snippet of Wilson Pickett´s then-current. breakthrough hit ´It´s Too Late´ (Double L. 1963) and the mixture came out perfectly, as you´ll hear here. Harriott did not confine his interest in Elbert´s catalogue to ´What Can I Do´ - he cut the man´s uptempo jiver ´Leona´ as the flip of ´The Wedding´ - nor his interest in medleys to this record. In 1969, just as rock steady was turning into reggae, he blended the choruses of the Pastels´ Been So Long´ (Hull. 1957) with the verses of the Tams´ 1964 ABC-Paramount recording of ´You Lied To Your Daddy´ to forge the churning. exciting version featured here. All in all. Harriott recorded more than a dozen Tams tunes, among them ´Standing In´, ´Laugh It Off´. ´Close To Mn´, ´Do I Worry´. ´Walk The Streets (a.k.a ´You Might As
(Empress) 25 tracks. original recordings Just picture the scene. The British people are celebrating VE day with a will. Throughout the country people are gathering together for street parties, pubs and bars are packed with revellers while the length and breadth of London´s Whitehall is thronged with an enormous crowd eager to slake its collective thirst, then to acclaim one of the great heroes of the hour - the Prime Minister, Winston Churchill... for he is due to speak to the mass of people who have joy in their hearts and a song in their throats. It makes for a most stirring occasion. The conflict in Europe is over, although everyone is aware that the years ahead will not be easy. Just for this one particular day they can forget their worries and enjoy one of the great days in their country´s history. Music is playing everywhere. Songs of hope, songs of sentiment; some with words looking forward to a bright future, others with a reflective backwards glance to the bitter-sweet emotions of the six long years of strife. It was a marvellous period for music. Great songs were still being written for vocalists fully capable of doing them complete justice. On both sides of the Atlantic the pre-war boom in swing and dance bands had evaporated to some extent; it was the singers who ruled in the brave new world. Vera Lynn had begun her professional career as a band vocalist, but by the early ´forties had established herself as one of the most popular solo artists in Britain. The deep sincerity of her finely tuned singing together with the memorable numbers she performed struck a chord at home and with the troops overseas. Her connection with the forces during the war has passed into the nation´s folklore. Of all the singers active between 1939 and 1945 it is Dame Vera who will forever be associated with those dark days; her records form a soundtrack to the war years. It is a tribute to Vera Lynn that her popularity has never waned, enduring to the present day more than fifty years after she recorded her big wartime hits. There´s A New World, It Could Happen To You and Jerome Kern´s beautiful Long Ago And Far Away will stir many memories. Her closest rival for the affections of the people was the much-missed Anne Shelton. When she started with Ambrose´s Orchestra as a gym-slipped schoolgirl it was hard to believe that a voice of such deep port wine resonance could come from one so young. Her sense of how to phrase and shape a song would have been considered extraordinary in an experienced artist, let alone someone only just into her teens. She was so highly regarded that, on trips to war-torn England, both Glenn Miller and Bing Crosby expressly asked her to work with them. A tremendous honour for a comparative newcomer. Just how well merited it was is demonstrated in Tonight I Kissed You and one of the only numbers to become popular in both Britain and Germany, Lili Marlene. There were other popular female vocalists besides the ´big two´. Adelaide Hall must have been one of America´s best-ever exports to the UK. Initially a wonderful jazz singer who made some classic recordings with Duke Ellington, she became an integral part of the British music scene when she moved to this country. Versatility and a fine voice coupled with a highly distinctive style were the keys to her success. Equally at home with the popular songs of the time as with mainstream jazz, her versions of the massive worldwide Julie Styne/Sammy Cahn hit It´s Been A Long Long Time and Harold Rome´s My Heart Sings are perfect vehicles for her exemplary singing. In both she is accompanied by the equally adept Norman Perry at the piano. Just like Anne Shelton the pint-sized Beryl Davis was a very young girl with a very big voice. Her teenaged assurance in I Got It Bad is a reminder of an all-round vocalist who recorded with jazz violin maestro Stephane Grappelli and with David Rose in America as well as a number of dance bands...