|
|
|
|
viewing 1 To 16 of 16 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
RANDB 084LP
|
The Iveys had been a moderately successful Swansea-based beat group in the mid-sixties performing cover versions of the latest pop and soul records before they engaged Liverpudlian Bill Collins as their manager. Collins had known the Beatles back in 1962-63 and was chummy with their road manager Mal Evans, who came along to an Iveys gig in January 1968. This led to the group being signed by Apple Records for a three-year deal. Tom Evans' composition Maybe Tomorrow was the first single. Although it bombed in the UK and USA, it was an international smash released in 20 countries worldwide. "We felt our original name was too nice. And people kept asking us if we were the old Ivy League." In November 1969, The Iveys changed their name to Badfinger to coincide with the release of their recording of the Paul McCartney song, "Come And Get It". Side one of this set contains songs recorded by the Iveys for the BBC in 1969, and side two consists of Badfinger sessions from 1970 for the BBC and a couple of tracks for the German TV program, Beat Club. Recording quality is excellent throughout except for Birthday and Nobody where unfortunately a better quality source was not available.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 086LP
|
1968 saw the first and best Jeff Beck Group at the height of their powers, with their live performances winning over audiences on both sides of the Atlantic. This LP includes 11 such tracks taken from UK and US radio broadcasts, including four songs that did not appear on the band's two studio LPs. Beck's guitar and Rod Stewart's voice made for a potent combination, ably supported by Ron Wood on bass and a succession of drummers. Sound quality throughout is excellent, full sleeve notes and credits included. Side one: recorded live at the Fillmore West, San Francisco on July 24th, 1968 and broadcast on KSAN FM radio. Side two: recorded live for BBC Top Gear 09/17/68 except one track at BBC Saturday Club 07/04/67.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 087LP
|
Tracks 1-4 recorded live in Hyde Park, London July 5th, 1969 broadcast on Dutch Radio Veronica, July 15th, 1969. Track 5 broadcast Pop Goes Sixties on December 12th, 1969. Tracks 6-8 recorded on the first show, Saville Theatre, London December 14th, 1969, broadcast US TV as Supernight of Rock'n'Roll. Tracks 19-11 recorded live at the Olympia Stadium, Detroit on November 24th, 1969 and broadcast on Detroit Tube Works WSU.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RANDB 088LP
|
$35.00
PREORDER
RELEASE DATE: 4/8/2022
Eighteen tracks of prime Van Morrison from 1971, recorded live in front of an intimate studio audience in excellent quality. A nine-piece band perform a selection of Morrison classics, everything from "Friday's Child (Them)" to songs from the yet-to-be released Tupelo Honey LP (1971). Morrison himself is in relaxed good humor on covers such as "Hound Dog" and "Just Like A Woman". Comes with full credits and extensive sleeve notes. It's Too Great To Stop Now!, recorded live at Pacific High Recorders, Marin, California, September 5th, 1971, soundboard quality.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD BOX
|
|
RANDB 008CD
|
$28.50
PREORDER
RELEASE DATE: 11/12/2021
Repress of this long-deleted box set. The History of Rhythm & Blues series of CDs is the first attempt to put together a comprehensive cross-label compilation showcasing the most important and influential records in the rise of rhythm & blues. Volume One investigates the links between country blues and spirituals, jug bands and hokum, piano boogie-woogie, ragtime and jazz, urban blues and gospel, after hours, swing boogie and jive. R&B is defined as the accidental synthesis of jazz, gospel, blues, ragtime, country, pop and Latin into a definable form of black music, influencing all popular music from the 1950s to the present day. Other useful definitions include Robert Palmer's in Rock & Roll: An Unruly History, as "a catchall rubric used to refer to any music that was made by and for black Americans," or Chip Deffaa's in Blue Rhythms as "popular music that arose in black communities after the swing era and before the arrival of the Beatles." Includes an illustrated 32-page booklet includes detailed sleeve notes with track-by-track commentary on each song.
Features Jelly Roll Morton, Lovie Austin And Her Blues Serenaders, King Oliver, Bennie Moten's Kansas City Orchestra, Lonnie Johnson, Bessie Smith, Louis Armstrong, Muggsy Spanier, Clarence "Pine Top" Smith, Cow Cow Davenport, Blind Roosevelt Graves And Brother, Leroy Carr, Speckled Red, Little Brother Montgomery, Rufus & Ben Quillian, Cab Calloway & His Orchestra, The Mills Brothers, Three Keys, Jimmie Lunceford & His Orchestra, Cripple Clarence Lofton, Roosevelt Sykes, The Harlem Hamfats, Lil Johnson, Georgia White, Louie Lasky, Johnnie Temple, Bumble Bee Slim, Bill Gaither, Walter Davis, Jazz Gillum, Elder Otis Jones, Golden Gate Jubilee Quartet, Big Bill Broonzy, Sonny Boy Williamson, Robert Johnson, Jimmie Gordon, Washboard Sam, Sister Rosetta Tharpe, Tampa Red, Big Maceo, Champion Jack Dupree, Memphis Slim, Robert Petway, Doctor Clayton, Arthur "Big Boy" Crudup, Albert Ammons & His Rhythm Kings, Jimmy Rushing with Count Basie, Count Basie Orchestra, Benny Goodman Orchestra, Milton Brown, Jimmie Lunceford Orchestra, Cab Calloway Orchestra, Nat King Cole, Three Sharps And A Flat, The Cats & The Fiddle, Erskine Hawkins Orchestra, Andy Kirk And His Clouds Of Joy, Peetie Wheatstraw, Big Joe Turner & Pete Johnson, Will Bradley, Lionel Hampton Orchestra, Sidney Bechet, Hot Lips Page Orchestra, Lewis Bronzeville Five, Pete Johnson, Jay McShann, Louis Jordan & His Timpani Five, Andy Kirk And His Clouds Of Joy, Ella Mae Morse, Lionel Hampton Orchestra, and T-Bone Walker.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD BOX
|
|
RANDB 003CD
|
$28.50
PREORDER
RELEASE DATE: 11/12/2021
The History of Rhythm & Blues series of CDs is the first attempt to put together a comprehensive cross-label compilation showcasing the most important and influential records in the rise of rhythm & blues. Volume Two investigates the transition from race music through sepia to rhythm & blues; the growing importance of radio; the rise of the independent record labels, the 45rpm record and the jukebox and looks at the rhythms behind the blues from shuffle and jump through rumba to rock n' roll and beyond. R&B is defined as the accidental synthesis of jazz, gospel, blues, ragtime, country, pop and Latin into a definable form of black music, influencing all popular music from the 1950s to the present day. Other useful definitions include Robert Palmer's in Rock & Roll: An Unruly History, as "a catchall rubric used to refer to any music that was made by and for black Americans," or Chip Deffaa's in Blue Rhythms as "popular music that arose in black communities after the swing era and before the arrival of the Beatles." Includes an illustrated 24-page booklet with detailed sleeve notes with track-by-track commentary on each song.
Features Lucky Millinder, Ella and Buddy Johnson, Dinah Washington, Cecil Gant, Charles Brown & Johnny Moore's 3 Blazers, T-Bone Walker & Marl Young's Orchestra, The Five Red Caps, The Four Blues, Helen Humes, Louis Jordan, Roy Milton & His Solid Senders, Joe Liggins & His Honeydrippers, Lucky Millinder & Wynonie Harris, Sister Rosetta Tharpe, Rubberlegs Williams & Clyde Hart All Stars, Big Joe Turner, Ella Mae Morse & Freddie Slack, Nellie Lutcher, Julie Lee & Her Boyfriends, Amos Milburn, King Cole Trio, Walter Davis, Henry "Red" Allen, Babs' Three Bips & A Bop, Wynonie Harris, Wild Bill Moore, Roy Brown, Hal Singer, Goree Carter, Ralph Willis, Stick McGhee, Lost John Hunter, Jackie Brenston with Ike Turner, Howlin' Wolf, Rosco Gordon, Tiny Bradshaw, Arthur Crudup, The Larks, Elmore James, Jimmy Witherspoon, Little Willie Littlefield, Joe Liggins, The Dominoes, Fluffy Hunter, The Swallows, Bullmoose Jackson, Treniers, Johnny Otis, Jay McShann, Arthur Smith, Hank Williams, Lightnin' Hopkins, John Lee 'Sonny Boy' Williamson, Muddy Waters, John Lee Hooker, Jazz Gillum, T-Bone Walker, Pee Wee Crayton, Paul Williams, Big Jay McNeely, Roy Milton, James Von Streeter, Big Three Trio, Trumpeteers, Stars Of Harmony, Dixiaires, Jubalaires, The Ravens, The Orioles, Edgar Hayes, Dave Bartholomew, Professor Longhair, Clarence Garlow, Fats Domino, Archibald, Lloyd Price, B.B. King, Lloyd Glenn, The Clovers, Ruth Brown, Billy Wright, Little Esther Philips, Percy Mayfield, Lowell Fulson, Jimmy Nelson, The Five Keys, The Royales, Ray Charles, and Mary Deloatch.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
RANDB 072CD
|
Jacksonville, Florida, 1960. Charles "Hungry" Williams mentors young Clayton Fillyau after he had just joined the James Brown band: "I don't care where you put it on those drums, remember where '1' is and you'll never lose the time." Listen to Hungry on Huey Smith's "Talk To Me Baby" from 1962 and then listen to how Clayton turns it into a relentless breakbeat on James Brown's "I've Got Money". Not everything on here was cut in New Orleans. New York singer Vernon Harrel's "Slick Chick" is held together by an intriguingly syncopated bass line that hints at late '60s Studio One dub. And in case you think any of this was new, listen to Earl Palmer's sixteenth notes, off-backbeat snare accents and double-tempo hi-hats in 1953 on Professor Longhair's "Tipitina". (Serious students dig out Zutty Singleton's drum break on Victoria Spivey's "Funny Feathers" from 1929). Here you are then. 47 funky tracks from the '50s and early '60s.
Features Edgar Hayes, Professor Longhair, Chris Powell, Mose Allison, Ahmad Jamal Trio, Bill Doggett, Ernie Freeman, Earl King, Drits & Dravy, Ike & Tina Turner, Jack McDuff, James Brown, Roy Montrell, Sugar Pie DeSanto, Al Robinson, Eddie Bo, The Isley Brothers, Gino Parks, Joe "Guitar" Morris, Prince La La, Stanley Turrentine, Fabulous Playboys, Vernon Harrel, Billy Stewart, Jimmy Pace, Lee Dorsey, Ernie K-Doe, Marvin Gaye, Pistol, Porgy & The Polka Dots, Ray Johnson, Shirley Raymond, Fred Lowery, Spider Johnson, Huey "Piano" Smith, Dolores Johnson, Turquinettes, Bob Bateman, James Booker, Wallace Johnson, Roosevelt Fountain, J. C. Davis, David Rockingham Trio, and Bobby Mitchell.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
RANDB 077CD
|
Funk was the name of the game in '66 with a noticeably slower tempo than in the year before. Some of these tracks were made as dance records, others as records for DJs to talk over between hits, and others still were B-side fillers where the band just jammed on. These are great grooves put down by top-flight musicians. Grab that tin of talcum powder and step on out!
Features Joe S. Maxey, Clarence Gatemouth Brown, Beverly Pitts, Perry & The Harmonics, Hank Marr, Lorenzo Holden, The Limas, Oliver Sain, Johnny Hammond Smith, Junior Parker, Boss Sounds, Mark III Trio, Dino & The Dell-Tones, Bash Brannigan, The Blendells, The Corky Wilkie Band, Leon & The Burners, Chuck Rowan & His Cliques, Booker T & The MG's, Merle Saunders, The Nu-Trons, The Dukeys, Gaynel Hodge, E Rodney Jones, Johnny Talbot, Dave Bartholomew, The Wild Child, Sammie John, Harold Battiste Jr, Monk Higgins, The Soul Runners, Righteous Brothers Band, Kase Trio, The Pop-Ups, World Famous Upsetters, Little Sonny, Watts 103rd Street Rhythm Band, The Triumphs, Jamo Thomas, James Rivers, Four Gents, The Premiers, The Registers, Tom Douglas, The Buena Vistas, Rudy Robinson, George Semper, The Four Steps, Ramsey Lewis Trio, John Adams, Ric-Tic House Band, Charlie Earland, Leon Haywood, Gentleman June Gardner, and Eddie Bishop.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RANDB 076CD
|
Pianist Michael Garrick was among the most boldly ambitious British jazz figures of the late-1960s, tirelessly pioneering various new fusions uniting his first love -- straight-ahead jazz -- with Indian music, liturgy and poetry. Featuring two previously unreleased sessions taped in 1967 and 1969, this album charts the course of his music from post-bop convention towards an indisputably "English" jazz sound. Containing provocative live versions of several well-known Garrick compositions and an all-star cast, it truly captures the era in which UK jazz began to loosen its collar and let down its hair.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 072LP
|
1964 was the year when the Rolling Stones broke through on the international stage. By this time, they were an outstanding live band. Their sets contained an appetizing selection of R&B covers and their gigs were increasingly frenzied affairs. All the tracks on this LP were recorded live in front of audiences everywhere from the sedate BBC radio studios to a full-blown riot in the Netherlands. Included are their groundbreaking live US TV appearances with sleeve notes by Ruby Tuesday and full credits.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RANDB 073CD
|
1964 was the year when the Rolling Stones broke through on the international stage and by this time, they were an outstanding live band. Their sets contained an appetizing selection of R&B covers and their gigs were increasingly frenzied affairs. All the tracks were recorded live (except for the Stones advert for Rice Krispies) and in front of audiences everywhere from the sedate BBC radio studios to a full-blown riot in the Netherlands. Included are their groundbreaking live US TV appearances and the complete NME Pollwinners Wembley show with sleeve notes by Ruby Tuesday and full credits.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 066LP
|
Georgie Fame was different. The bulk of "rhythm and blues" groups followed the Stones image: scruffy urchins who you probably wouldn't invite around for tea, but his image was totally different. Georgie and the Blues Flames looked more like members of the Stax/Volt Revue than the Downliners Sect. And then there was the music. No harmonica and guitar Chicago blues here, Fame opted for a mix of jump blues mingled with early soul, the sort of music that had been emerging in US cities like Memphis and Detroit. Hammond and horns playing jazz, Latin, Stax, and ska. What you have on this LP is 18 songs broadcast on the BBC in 1965 -- presented here in sparkling hi-fidelity sound. Notes by Smiler Anderson.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
RANDB 065CD
|
Georgie Fame was different. The bulk of "rhythm and blues" groups followed the Stones image: scruffy urchins who you probably wouldn't invite around for tea, but his image was totally different. Georgie and the Blues Flames looked more like members of the Stax/Volt Revue than the Downliners Sect. And then there was the music. No harmonica and guitar Chicago blues here, Fame opted for a mix of jump blues mingled with early soul, the sort of music that had been emerging in US cities like Memphis and Detroit. Hammond and horns playing jazz, Latin, Stax, and ska. What you have on this double-CD set is 47 songs and 17 interviews recorded for the BBC between 1964 and 1967, and all in superb quality sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RANDB 070CD
|
When Memphis Slim first visited Europe in 1960, he was already a twenty-year veteran recording artist, with many US 78 rpm releases behind him and a very solid reputation leading small bands in the 1940s and '50s. It's no wonder that he was able to captivate an entirely new kind of audience when he crossed the Atlantic, first as a visitor, then as a permanent resident, settling in Paris from 1962. The studios and concert halls of Europe were very different from the juke joints of the South or the nightclubs of Chicago, but it was all the same to Memphis Slim, who could grab and hold his listeners' attention wherever he played. Throughout the remainder of his life -- he died in Paris in 1988, and was buried back home in Memphis -- Slim made a great many albums, in all sorts of company, from duetting with Sonny Boy Williamson, to fronting big bands, or French beat groups, or Nashville session musicians. There were so many that the quality inevitably suffered. A blandness crept in, the performances sometimes seeming routine and even perfunctory, and his stock fell among many diehard blues fans. This is a great shame, as he deserves to be numbered among the true greats of the blues. Recordings such as the ones on this disc should help to restore him to his rightful place, as they capture him at the very start of that new era of his career, still sounding fresh, his rich and expressive voice still in its prime, still full of enthusiasm for sharing his own personal heritage of blues and boogie piano.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
RANDB 068CD
|
If there was one sound guaranteed to shock in British jazz during 1966 it was that of the Spontaneous Music Ensemble, the free-improvising collective centered around drummer John Stevens which that year helped establish London's Little Theatre Club as a stronghold of the "new wave". Although the avant-garde were slow in gaining a toe-hold on British jazz tastes, every so often a grass roots jazz club would take a chance on the new style, such as the night in June 1966 when the SME alighted on Greenwich's Prince Albert pub, eager to deliver their message to fresh ears. This CD set contains all the music played that night plus a 30-minute Q&A session, creating what must surely be one of the most important early documents of British "free" jazz. Disc two also adds a studio-taped session from later that year. Both sets are previously unissued and both are essential listening for those interested in the course of modern jazz development within the UK. 12-page booklet with notes by Simon Spillett.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RANDB 066CD
|
If there existed a common thread binding the music of London together in 1966 it was the blues. Whether you were an R&B fan or a modern jazz follower, this was a sound that continued to constitute the bedrock of your taste. And there was no individual better suited to allying these superficially disparate camps than the veteran American blues singer Jimmy Witherspoon who spent an extended stay in the capital that year, performing with contemporary jazzmen and R&B combos alike. Dick Morrissey's quartet (with Harry South, Phil Seamen and Phil Bates) provides the backing on these live recordings, many of which are previously unissued. For anyone wanting to know just how the Sixties "swung", this album is a must. 16-page booklet by Simon Spillett.
|
|
|
|