lördag 30 april 2016

Dion and The Belmonts - Presenting "Dion and The Belmonts" (Great R/B, Doo Woop US 1959)


240:- (24-Bit Limited Remaster Edition. En verklig klassiker med många hitlåtar. Släppt av det japanska skivbolaget "Oldays Records" i en starkt begränsad upplaga.)

1959's Presenting Dion And The Belmonts is the seminal debut album from the Italian American doo-wop group who got their start singing on the street corners of the Bronx. Revealing a musical soul that transcended the limitations of teenage pop (and foreshadowing group leader Dion Di Mucci’s future solo career), the release features such immortal rock and roll hits as “I Wonder Why” and “Teenager in Love,” still among some of the best examples of white vocal R&B to come out of New York in the '50s.

Rock & roll albums were something of a novelty, if not a rarity, in 1959 -- apart from Elvis's releases, few of them sold well, and most that were out there by white artists, apart from hits compilations, didn't always reflect well on the music. The debut album by the Bronx-based doo wop group holds up well, however, and is well worth hearing beyond the hits "I Wonder Why," "Where or When," "Don't Pity Me," and "A Teenager in Love." 

Albumets Baksida
The predominant subject is girls, no surprise as the work of an R&B vocal group in 1959, but there's amazingly little feeling of repetition on these 14 cuts, partly because the producers and the group did vary the sound. There are surprisingly successful attempts at a mild country sound ("You Better Not Do That") as well as pop ("Just You") and an amazing blues ("I Got the Blues") that reveals some of the real depth behind Dion DiMucci even at this early stage of his career -- he may have looked and sounded like a teen idol on some of those records, but he had a musical soul all of his own that transcended the limitations of teen pop; it also goes a long way toward explaining why he was responsible for some of the best white rock & roll to come out of New York during this period. It may not be in a league with Elvis Presley's first three albums as essential listening, but it is all well played as well as beautifully sung, showing off a prodigious array of talent from the group on down to the session players involved.

Dion Francis DiMucci (born July 18, 1939), better known mononymously as Dion, is an American singer-songwriter whose work has incorporated elements of doo-wop, pop oldies music, rock and R&B styles—and, most recently, straight blues. He was one of the most popular American rock and roll performers of the pre-British Invasion era. He had more than a dozen Top 40 hits in the late 1950s and early 60s. He is best remembered for the 1961 singles, "Runaround Sue" and "The Wanderer", written with Ernie Maresca.

Dion's popularity waned in the mid-1960s, perhaps due to the public's changing taste in pop music, and perhaps in part due to personal difficulties he had during this period. But toward the end of the decade, he shifted his style and produced songs with a more mature, contemplative feeling, such as "Abraham, Martin and John". He became popular again in the late 1960s and into the mid-1970s, and he has continued making music ever since. Critics who had dismissed his early work, pegging him as merely a teen idol, praised his later work, and noted the influence he has had on other musicians.

Poster - Sunday, January 25, 1959
Dion was born to an Italian-American family in the Bronx, New York. As a child, he accompanied his father, Pasquale DiMucci, a vaudeville entertainer, on tour, and developed a love of country music – particularly the work of Hank Williams. He also developed a fondness for the blues and doo-wop musicians he heard performing in local bars and on the radio. His singing was honed on the street corners and local clubs of the Bronx, where he and other neighborhood singers created a cappella riffs.

In early 1957, he auditioned for Bob and Gene Schwartz, who had just formed Mohawk Records. They recorded Dion singing lead on a song which had been arranged by Hugo Montenegro and pre-recorded with everything but the lead vocals. The backing vocals were by a group called "The Timberlanes", whom Dion had never met. The resulting single, "The Chosen Few", was released under the name, Dion and the Timberlanes, and became a minor regional hit. Writing about this experience later, in his autobiography, The Wanderer, Dion said that that he had never met the Timberlanes and didn't even know who they were. "The vocal group was so white bread, I went back to my neighborhood and I recruited a bunch of guys --three guys-- and we called ourselves Dion and the Belmonts."

Bob and Gene Schwartz also signed Dion's friends, the Belmonts, (Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo), a vocal group named for nearby Belmont Avenue, and teamed them, with Dion singing lead. The new group's breakthrough came in early 1958, when "I Wonder Why" (on their newly formed "Laurie" label) made No. 22 on the U.S. charts. Dion said of the Belmonts; "I'd give 'em sounds. I'd give 'em parts and stuff. That's what 'I Wonder Why' was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. There's four guys, one guy was doing bass, I was singing lead, one guy's going 'ooh wah ooh', and another guy's doing tenor. It was totally amazing. When I listen to it today, often times I think, 'Man, those kids are talented.'"

Their initial hit was followed by "No One Knows" and "Don't Pity Me", which also charted the Billboard Top 100. This success won Dion and the Belmonts a place on the tragic "The Winter Dance Party" tour with Buddy Holly, Ritchie Valens, the Big Bopper (J.P. Richardson) and other performers. On February 2, 1959, after a concert stop in Clear Lake, Iowa, Holly and others decided to take a flight to the next venue rather than travel on the tour bus. Dion was invited to accompany the group but decided that he did not want to spend $36 for the flight, as it was the same monthly rent his parents paid for his childhood apartment and he couldn't justify the indulgence. The plane crashed, killing all on board; Holly, Valens, Richardson, and the pilot Roger Peterson. Dion and the Belmonts continued on the tour, while Bobby Vee, then an unknown artist, performed in Holly’s place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were added to replace the other now-deceased headliners.

Dion and the Belmonts' next single, "A Teenager in Love", was released in March 1959, eventually hitting No. 5 on the U.S. pop charts and No. 28 in the UK. The trio's biggest hit, "Where or When", was released in November of that year, and reached No. 3 on the U.S. charts. However, in early 1960, Dion checked into hospital for heroin addiction, a problem he had had since his mid-teens. Further single releases for the group that year were less successful. There were musical, personal and financial differences between Dion and members of the Belmonts, and in October 1960, Dion decided to quit for a solo career. By the time of their breakup, all eight Laurie releases had charted on the Hot 100.

01. I Wonder Why  2:20
02. Teen Angel  2:37
03. Where Or When  2:31
04. You Better Not Do That  2:31
05. Just You  2:45
06. I Got The Blues  2:45
07. Don’t Pity Me  2:36
08. A Teenager In Love  2:37
09. Wonderful Girl  2:13
10. A Funny Feeling  2:13
11. I’ve Cried Before  2:48
12. That’s My Desire  2:31
13. No One Knows  2:36

Gary Benson - The Concert (Pop/Rock Album UK 1973)


170:- (24-Bit Limited Remaster Edition. Utgången utgåva sedan länge.)

Gary Benson (born Harry Hyams, London) is an English singer-songwriter.

Benson spent eight weeks in the UK Singles Chart in 1975 with his own composition, "Don't Throw It All Away". The single, released on the State label (State Records STAT10), reached No. 20 in the chart, leading to an appearance on BBC Television's Top Of The Pops. 



The song had originally been recorded by The Shadows, and they had performed it in the 1975 A Song for Europe contest, where it finished fourth of six entries.


Benson had further attempts at winning the UK ticket to the Eurovision Song Contest, reaching the UK finals in 1977 with "After All This Time", performed by Wesley, Park and Smith, finishing fifth of 12; in 1981 with "All Cried Out", which he performed himself to place fourth of 8, and was later released on the WEA Records label; and in 1993 with "It's Just a Matter Of Time" performed by Sonia, finishing last of eight entries.

Benson's song "Let Her In", oddly credited to both Gary Benson and Harry Hyams, was recorded by John Travolta in 1975. 

Another of Benson's composition's, "Close To You", was recorded by Maxi Priest. In 1977, he composed and sang one of his sweetest melodies: "You" but never ranked in the UK charts.

01. Concert
02. Let Her In
03. Almost Forgot About Losing You
04. To Kill Another Day
05. Quiet Man
06. Safe Place To Live
07. Help Me Get Through
08. Sausalite
09. Best Things I Can Do
10. Closing Down Of The Old Porland Railway Company
11. No Guarantee



torsdag 10 mars 2016

Zoot Money's Big Roll Band - It Should've Been Me (UK 1965)


250:- (24-Bit Limited Remaster Edition (Gruppens 1a album från 1965. Laminerat konvolut + "flipback omslag" precis som originalet från 1965. 10 bonus tracks. Rekommenderas varmt.)

01. "I'll Go Crazy" (James Brown)  3:44 
02. "Jump Back" (Rufus Thomas)  2:19
03. "Along Came John" (John Patton)  4:56
04. "Back Door Blues" (Robert Brown)  6:14
05. "It Should've Been Me" (Memphis Curtis)  2:56
06. "Sweet Little Rock and Roller" (Chuck Berry)  2:59
07. "My Wife Can't Cook" (Gerald L. Russ)  4:53
08. "Rags and Old Iron" (Norman Curtis, Oscar Brown Jr.)  3:35
09. "The Cat" (Lalo Schifrin)  3:35
10. "Feelin' Sad" (Eddie "Guitar Slim" Jones)  6:22
11. "Bright Lights, Big City" (Jimmy Reed)  5:00
12. "Fina" (Stuart) 2:50 

Bonus Tracks:
13.  Uncle Willie  2:54
14.  Good  2:26
15.  Bring It Home To Me  3:43
16.  Please Stay  3:40
17.  You Know You'll Cry  3:14
18.  Something Is Worrying Me  2:56
19.  Stubborn Kind Of Fellow 2:19 
20.  Big Time Operator  2:42
21.  Zoot's Sermon  3:53
22.  It Should've Been Me (Alternative Take)  2:49

Biografilänk: Zoot Money  Biografilänk: Zoot Money


tisdag 8 mars 2016

Raspberries - Fresh (Deras 2a Album US 1972) (SHM-CD)


240:- (SHM-CD Limited Remaster Edition (Nysläppt album från Universal Japan Music. Gruppen har inte funnits som Mini LP förut, endast 1 exemplar i lager.)

01. "I Wanna Be With You"  (Carmen) Eric Carmen  03:05
02. "Goin' Nowhere Tonight" (Carmen, Smalley) Dave Smalley  02:30
03. "Let's Pretend"  (Carmen)  Carmen  03:42
04. "Every Way I Can"  (Smalley) Smalley  02:44
05. "I Reach for the Light" (Carmen) Carmen  04:01
06. "Nobody Knows"  (Carmen) Carmen, Smalley  02:19
07. "It Seemed So Easy"  (Smalley) Carmen, Smalley  03:53
08. "Might as Well"  (Bryson) Wally Bryson  02:25
09. "If You Change Your Mind" (Carmen) Carmen  03:59
10. "Drivin' Around" (Carmen) Carmen, Smalley  03:03

Bonus Track
11. "Let's Pretend"

Biografilänk: Raspberries  Biografilänk: Raspberries

lördag 20 februari 2016

John Buck Wilkin - In Search of Food, Clothin, Shelter and Sex (Psychedelic Folk US 1970)


270:- (24-Bit Limited Remaster Edition. Ny utgåva från "Big Pink Records". Bra US Folkrock/Psychedelia.)

John "Bucky" Wilkin, the son of Marijohn Wilkin (author of the country classic "Long Black Veil"), is most noted as a session guitarist on numerous country and rock records of the 1970s, particularly outlaw country releases by Waylon Jennings, Kris Kristofferson, Kinky Friedman, and Jessi Colter. He was also a songwriter and put out a little-known solo LP, In Search of Food, Clothing, Shelter & Sex, on Liberty.


The record was easygoing, though sometimes moodily eccentric, country-folk-rock with frequent orchestration. Prior to his solo album, Wilkin had been in Ronny & the Daytonas, famous for their 1964 hot rod hit "Little GTO." Wilkin was also in the American Eagles (not to be confused with the much more famous Eagles), who also included keyboardist Chuck Leavell, and put out a single in 1969.


Wilkin's obscure solo album is a rather strange, and not always comfortable, interface of singer/songwriter, MOR pop, folk-rock, and country influences. At times he sounds like early James Taylor with Glen Campbell-ish orchestration; "My God and I" doesn't sound far from early Elton John. Although his songs are a little odder and moodier than those of the young Taylor, they're not as good or memorable either. 
Sometimes there are suite-like structures reflecting the ambitions of much late-'60s music, as in "Mary Jackson," "Nashville Sun," and "Apocalypse 1969." "Boy of the Country," for its dark edginess, is a standout, though even so the orchestration somewhat dilutes the overall effect. 

Kris Kristofferson fans might find this an interesting collector's item due to the presence of an early, pre-Janis Joplin version of "Me and Bobby McGee" as well as "Apocalypse 1969" (one of the better and harder-rocking cuts, though not as interesting as its title indicates), which is co-written by Wilkin and Kristofferson.

01. Apartment Twenty-One
02. Faces And Places
03. My God And I
04. Boy Of The Country
05. Apocalypse 1969
06. Me And Bobby McGee
07. The Daydream
08 Mary Jackson
Medley
09.1 Long Black Veil
09.2 The Nashville Sun
Medley
10.1 About Time
10.2 Nashville Sun Reprise



fredag 18 september 2015

Jackie McAuley - S/T (Bra Progressiv Folkrock UK 1971) + Mini LP CD Single



250:- (24-Bit Limited Remaster Edition. Mycket fin utgåva, släppt av Japanska "Arcangelo" 2005. Laminerat utvikomslag + Mini LP CD singel. Svår att hitta nuförtiden.)

Biografilänkar: Jackie McAuley 1971 och Jackie McAuley 1971

fredag 17 juli 2015

Spirogyra - Old Boot Wine (Progressive Folkrock UK 1972)


250:- (24-Bit Limited Remaster Edition. Deras 2:a album från 1972. Nu sedan länge utgången utgåva, svår att hitta.)

Well, finally I have been lucky enough to track down an LP of this highly coveted album, however, its reputation exceeds its worth - to an extent. We are greeted with 'Dangerous Dave', which rocks out nicely, with a brief melancholic bit in the middle and back again. Hardly the stuff a prog-head looks for but the track is well composed. Van Allen's Belt is in a more sombre mood with acoustic guitar and piano. 'Runaway' strikes me as the most proggy piece on the album. 


It features 3 distinctive movements, some organ and lovely piano playing, vocals from Mark Francis and the beautiful Barbara Gaskin, and some bars in 7/8 !! Starting out uptempo, but finishing in a dreamy way with Gaskin's gorgeous voice - a well performed proggy-folk epic in under 5 minutes ! 'Grandad' is again a sombre piece of fragile beauty featuring a delicate Cockerham with his acoustic guitar, backed by Cusack's string arrangement. 'Wings of Thunder' is another rocker which is pleasant but without any 'twists and turns'. 

Side 2 opens up with the only long number, 'World's Eyes', of which the first half of the song recalls a bit of the eccentricities of their debut, 'St. Radigunds', containing a brief moment of manic energy which reminds me of zeuhl (don't ask how I get this, but it does), hyperactive bass from Borrill, some semi-tone riffs and strange vocals. The second half of the song settles into more conventional territory but still holds the attention. 


Most 'standard' track I find is 'Don't Let it Get you', a non-offensive ballad which doesn't out-stay its welcome. 'Disraeli's Problem' features more dreamy vocals from Gaskin, with mellow sections that I enjoy immensely. Last track, 'A Canterbury Tale', has a sombre first half which is beautiful, finishing with a multi-tracked Gaskin vocal backing with Cockerham singing over the top. A fine album for sure, but not quite the masterpiece I was hoping for.

Formed in Canterbury, England in 1970, Spirogyra was one of a group of young progressive folk bands signed to B&C Records at the same time as Steeleye Span. The band was formed by writer Martin Cockerham, vocalist Barbara Gaskin, Julian Cusack and Steve Borrill. Dave Mattacks played drums on their debut album in 1971. The sound on St. Radigund’s and the follow-up Old Boot Wine was similar to early Strawbs but also drew on the progressive ideas of the Incredible String Band. The songs sounded whimsically English and Gaskin’s voice gave them a pure, unsullied air. 

The final Spirogyra album, 1973’s Bells, Boots And Shambles, was recorded by Cockerham and Gaskin alone. Gaskin went on to work with Hatfield And The North and enjoyed a surprise UK chart-topper in 1981, in partnership with Dave Stewart, with a cover version of Lesley Gore’s ‘It’s My Party’. (NB: Not to be confused with the US jazz rock group Spyro Gyra.)

Musicians:
Martin Cockerham - vocals, guitar
 Steve Borrill - bass
 Barbara Gaskin - vocals
 Marc Francis - vocals, guitar, keyboards

Guest musicians:
 Dave Mattacks - drums
 Julian Cusack - violin, keyboards
 Alan Laing - cello
 Rick Biddulph - mandoline

01. Dangerous Dave (4:16) 
02. Van Halen's Belt (2:35) 
03. Runaway (4:55) 
04. Grandad (3:23) 
05. Wings of Thunder (3:08) 
06. World's Eyes (7:31) 
07. Don't Let It Get You (4:28) 
08. Disraeli's Problem (4:15) 
09. A Canterbury Tale (4:03)


German Single 1972



måndag 6 juli 2015

Roy Orbison - At The Rock House (1:a Albumet US 1961)


250:- (24-Bit Limited Remaster Edition. Roy Orbison's 1:a Album på SUN Records.)

Roy Orbison at the Rock House is the first album by Roy Orbison. It was released in 1961 by Sun Records at a time when Orbison had already moved to the Monument label but had not yet put out an album. Sun Records owner Sam Phillips had a collection of songs Orbison had recorded at Sun between 1956 and '58. Phillips capitalized on the national recognition Orbison had achieved at Monument through three major hit singles in 1960 and '61 that had gone to the top of the Billboard charts.


Most of the songs on Roy Orbison at the Rock House were written by Orbison but the songwriting credits were assigned to Sam Phillips, and are in the traditional rockabilly style the Sun label was known for. Notable exceptions are compositions by other Sun artists Harold Jenkins (better known as "Conway Twitty") and Johnny Cash. "Rock House" was written by Orbison and Twitty.

For this release all tracks except Devil Doll have been overdubbed with background vocals and/or additional instruments.

Although it was technically Roy Orbison's first album, At the Rock House wasn't really an LP effort on his part so much as a cash-in effort by Sun Records in the wake of Orbison's later success on Monument Records with "Uptown," "Only the Lonely," etc. And understandably, the sound is very retro for 1960-1961, comprised as the record is primarily of the rock & roll and hardcore rockabilly numbers that he cut for Sun in 1956 (with his original group the Teen Kings) and 1957, including the Johnny Cash-authored "You're My Baby," the Orbison/Harold Jenkins collaboration "Rock House," and Sam Phillips' "Mean Little Mama" and "Problem Child." 



Not everything is quite as briskly paced as those two numbers, but even the ballads, such as "Sweet and Easy to Love" and "Devil Doll," and the melodic "This Kind of Love" and "It's Too Late," have an edge to them -- they stand midway between the rock & roll that was happening in 1956 and the more lush and dramatic sound that Orbison would perfect at Monument Records from 1959 onward. All of the material is fascinating as a sort of alternate-universe version of where Orbison might've headed musically, and most of it is downright bracing and exciting, though it's easy to see why it never succeeded at the time -- numbers like "You're Gonna Cry" and "Problem Child" were a little too intense and ambitious as rock & roll, with too many changes and involved lyrics, to hold that audience en masse. It was some of the best and most intense rock & roll you could buy in 1961 this side of Elvis Presley, however, and heard today the album is a fascinating curio from what's usually thought of as a fallow period in rock & roll history.

01. "This Kind of Love"
02. "Devil Doll"
03. "You're My Baby" (Johnny Cash)
04. "Trying To Get To You"
05. "It's Too Late" (Chuck Willis)
06. "Rock House" (Phillips, Harold Jenkins)
07. "You're Gonna Cry"
08. "I Never Knew"
09. "Sweet and Easy to Love"
10. "Mean Little Mama"
11. "Ooby Dooby" (Wade Moore, Dick Penner)
12. "Problem Child" (Roy Orbison)

tisdag 2 juni 2015

Led Zeppelin - Presence (Classic Album UK 1976) (SHM-CD)


270:- (SHM-CD Limited Remaster Edition. Reliefomslag + klistermärke. Utgången utgåva sedan länge.)

Presence is the seventh studio album by the English rock band Led Zeppelin, released by Swan Song Records on 31 March 1976. It was written and recorded during a tumultuous time in the band's history, as singer Robert Plant was recuperating from serious injuries he had sustained in a recent car accident. The album received mixed reviews from critics and is also the slowest-selling studio album by the band (other than the outtake album Coda), only managing to achieve triple-platinum certification in the United States. Nonetheless, guitarist Jimmy Page describes Presence as the band's "most important" album, proving they would continue despite their turmoil.

Jimmy Page made the decision to record the album after Robert Plant sustained serious injuries from a car accident on the Greek island of Rhodes on 5 August 1975, which forced the band to cancel a proposed world tour that was due to commence on 23 August. At this point, Led Zeppelin were arguably at the height of their popularity. When he was taken to a Greek hospital after the accident, Plant recalled:
I was lying there in some pain trying to get cockroaches off the bed and the guy next to me, this drunken soldier, started singing "The Ocean" from Houses of the Holy.

During a convalescent period on the Channel Island of Jersey and in Malibu, California, Plant wrote some lyrics, and when Page joined him at Malibu, these compositions were fleshed out. The two prepared enough material for rehearsals to begin at Hollywood's SIR Studio, where drummer John Bonham and bass player John Paul Jones joined them.


After a month of rehearsals, the album was recorded in just eighteen days at Musicland Studios in Munich, Germany, with Plant in a wheelchair. This was the fastest recording turnaround time achieved by the band since their debut album. The rushed recording sessions were in part a result of Led Zeppelin having booked the studio immediately prior to The Rolling Stones, who were shortly to record songs for their album Black and Blue. Upon their arrival, the Stones were amazed that Zeppelin's album had indeed been completed (both recorded and mixed) in a mere eighteen days. Page had simply stayed awake for two days straight to perform all of the guitar overdubs. As he later explained:

I just had to lay it down, more or less: first track... second track – you know, really fast working on that. And all the guitar overdubs on Presence were done in one night. But I didn't think I would be able to do it in one night, I thought I'd have to do it across maybe three different nights to get the individual sections. Everything sort of crystallised and you'll notice everything was just pouring out. I was very happy with the guitar playing on that whole album, you know as far as the maturity of playing goes.

Six of the seven songs on the album are Page and Plant compositions; the remaining song being credited to all four band members. This can be explained by the fact that the majority of the songs were formulated at Malibu, where Page (but not Bonham and Jones) had initially joined a recuperating Plant. With Plant at less than full fitness, Page took responsibility for the album's completion, and his playing dominates the album's tracks.

Both Page and Plant had planned this album's recording session as a return to hard rock, much like their debut album, except at a new level of complexity. It marked a change in the Led Zeppelin sound towards more straightforward, guitar-based jams. Whereas their previous albums up to and including the previous year's Physical Graffiti contain electric hard rock anthems balanced with acoustic ballads and intricate arrangements, Presence was seen to include more simplified riffs, and is Led Zeppelin's only studio album that features no keyboards, and with the exception of a rhythm track on "Candy Store Rock", no acoustic guitar. The record stands in sharp contrast to their next album In Through the Out Door, which features keyboards on all tracks and pushes Page's guitar into the background on several songs (most notably on "Carouselambra", where Jones takes the lead on a synthesizer for most of the song, and Page is not truly heard until four minutes into the song).



The changed stylistic emphasis on this album was a direct result of the troubled circumstances experienced by the band around the time of its recording. As Page said at the time:
I think it was just a reflection of the total anxiety and emotion of that period. There's a hell of a lot of spontaneity about that album. We went in with virtually nothing and everything just came pouring out.

Plant expressed similar views, stating:
It was really like a cry of survival. There won't be another album like it, put it like that. It was a cry from the depths, the only thing that we could do.



In contrast to earlier albums that contained several tracks that the band chose to play live at Led Zeppelin concerts, only two tracks from Presence were played in full on stage while the band was active. "Achilles Last Stand" and "Nobody's Fault but Mine" were added to the setlist for the 1977 tour of the United States and stayed through the band's final concerts in 1980. Some of the guitar solo from "Tea for One" was also incorporated into "Since I've Been Loving You" in these shows, but the actual song was never performed live until the Page and Plant tour of Japan in 1996, where it received three airings backed by an orchestra. "For Your Life" was played in full by Led Zeppelin for the first time at the Ahmet Ertegün Tribute Concert on 10 December 2007.

The cover and inside sleeve of this album, created by Hipgnosis, features various images of people interacting with a black obelisk-shaped object. Inside the album sleeve, the item is referred to simply as "The Object." It was intended to represent the "force and presence" of Led Zeppelin. In the liner notes of the first Led Zeppelin boxed set, Page explained:


There was no working title for the album. The record-jacket designer said 'When I think of the group, I always think of power and force. There's a definite presence there.' That was it. He wanted to call it 'Obelisk.' To me, it was more important what was behind the obelisk. The cover is very tongue-in-cheek, to be quite honest. Sort of a joke on [the film] 2001. I think it's quite amusing.

The background used in the cover photograph is of an artificial marina that was installed inside London's Earl's Court Arena for the annual Earl's Court Boat Show that was held in the winter of 1974–75. This was the same venue where the band played a series of concerts a few months after the boat show, in May 1975.

In 1977 Hipgnosis and George Hardie were nominated for a Grammy Award in the category of best album package.

01. "Achilles Last Stand"   Page, Plant 10:25 
02. "For Your Life"   Page, Plant 6:24 
03. "Royal Orleans"   Bonham, Jones, Page, Plant 2:58 
04. "Nobody's Fault but Mine"   Page, Plant 6:27 
05. "Candy Store Rock"   Page, Plant 4:11 
06. "Hots On for Nowhere"   Page, Plant 4:43 
07. "Tea for One"   Page, Plant 9:27 

torsdag 16 april 2015

Gene Vincent and The Blue Caps (1:a Albumet US 1957)


280:- (24 Bit Limited Remaster Edition. 1:a Albumet US 1957 med Bonus Tracks. Strikt limiterad utgåva från OLDAY Records Japan.)

Gene Vincent and The Blue Caps is an album by Gene Vincent and His Blue Caps. It was originally released in 1957, four months after its predecessor, Bluejean Bop. It was released on the Capitol label.

Gene Vincent and His Blue Caps, cut in October 1956, only four months after its predecessor, came about under slightly less favorable circumstances than the Bluejean Bop album. Cliff Gallup, whose lead guitar had been so central to the group's original sound, and rhythm guitarist Willie Williams, who was only somewhat less important to their sound, had been gone from the band for nearly two months when producer Ken Nelson decided it was time to cut material for more singles and a second album. 

Gallup was persuaded to rejoin temporarily for the sessions that yielded this album, and with him he brought not only a hot-sounding instrument but one first-rate original song, "You Better Believe," alongside a few other notable band originals ("Cruisin'," "Hold Me, Hug Me, Rock Me") that are among the best songs Vincent and his band ever recorded. 

The sound ends up similar to the Bluejean Bop album, with a little more depth in places and Vincent showing more maturity and confidence, which is how he gets away with "Unchained Melody," the most challenging ballad he'd cut up to that time -- Gallup's trilled, mandolin-like playing (which turns up on "I Sure Miss You" as well) also serves to make this one of the more unusual and memorable of the many good versions of this song. Vincent's singing also stands out on his dark, moody, ominous rendition of the Delmore Brothers' "Blues Stay Away From Me." And the band runs circles around virtually every other white rock & roll outfit of the period. 


Unfortunately, Gene Vincent & His Blue Caps would also be the last time that this version of the band would turn up on record with Vincent -- Gallup soon left again, and in less than three months, every member of the group except drummer Dickie Harrell would be gone. In 1998, Collectables Records reissued this album, paired with Bluejean Bop, on Bluejean Bop/Gene Vincent & His Blue Caps.

Biography by AMG:
Gene Vincent only had one really big hit, "Be-Bop-a-Lula," which epitomized rockabilly at its prime in 1956 with its sharp guitar breaks, spare snare drums, fluttering echo, and Vincent's breathless, sexy vocals. Yet his place as one of the great early rock & roll singers is secure, backed up by a wealth of fine smaller hits and non-hits that rate among the best rockabilly of all time. The leather-clad, limping, greasy-haired singer was also one of rock's original bad boys, lionized by romanticists of past and present generations attracted to his primitive, sometimes savage style and indomitable spirit.


Vincent was bucking the odds by entering professional music in the first place. As a 20-year-old in the Navy, he suffered a severe motorcycle accident that almost resulted in the amputation of his leg, and left him with a permanent limp and considerable chronic pain for the rest of his life. After the accident he began to concentrate on building a musical career, playing with country bands around the Norfolk, VA, area. Demos cut at a local radio station, fronting a band assembled around Gene by his management, landed Gene Vincent & the Blue Caps a contract at Capitol, which hoped they'd found competition for Elvis Presley.

Indeed it had, as by this time Vincent had plunged into all-out rockabilly, capable of both fast-paced exuberance and whispery, almost sensitive ballads. The Blue Caps were one of the greatest rock bands of the '50s, anchored at first by the stunning silvery, faster-than-light guitar leads of Cliff Gallup. The slap-back echo of "Be-Bop-a-Lula," combined with Gene's swooping vocals, led many to mistake the singer for Elvis when the record first hit the airwaves in mid-1956, on its way to the Top Ten. The Elvis comparison wasn't entirely fair; Vincent had a gentler, less melodramatic style, capable of both whipping up a storm or winding down to a hush.

Brilliant follow-ups like "Race With the Devil," "Bluejean Bop," and "B-I-Bickey, Bi, Bo-Bo-Go" failed to click in nearly as big a way, although these too are emblematic of rockabilly at its most exuberant and powerful. By the end of 1956, The Blue Caps were beginning to undergo the first of constant personnel changes that would continue throughout the '50s, the most crucial loss being the departure of Gallup. The 35 or so tracks he cut with the band -- many of which showed up only on albums or b-sides -- were unquestionably Vincent's greatest work, as his subsequent recordings would never again capture their pristine clarity and uninhibited spontaneity.

Vincent had his second and final Top Twenty hit in 1957 with "Lotta Lovin'," which reflected his increasingly tamer approach to production and vocals, the wildness and live atmosphere toned down in favor of poppier material, more subdued guitars, and conventional-sounding backup singers. He recorded often for Capitol throughout the rest of the '50s, and it's unfair to dismiss those sides out of hand; they were respectable, occasionally exciting rockabilly, only a marked disappointment in comparison with his earliest work. His act was captured for posterity in one of the best scenes of one of the first Hollywood films to feature rock & roll stars, The Girl Can't Help It.

Live, Vincent continued to rock the house with reckless intensity and showmanship, and he became particularly popular overseas. A 1960 tour of Britain, though, brought tragedy when his friend Eddie Cochran, who shared the bill on Vincent's U.K. shows, died in a car accident that he was also involved in, though Vincent survived. By the early '60s, his recordings had become much more sporadic and lower in quality, and his chief audience was in Europe, particularly in England (where he lived for a while) and France.

His Capitol contract expired in 1963, and he spent the rest of his life recording for several other labels, none of which got him close to that comeback hit. Vincent never stopped trying to resurrect his career, appearing at a 1969 Toronto rock festival on the same bill as John Lennon, though his medical, drinking, and marital problems were making his life a mess, and diminishing his stage presence as well. He died at the age of 36 from a ruptured stomach ulcer, one of rock's first mythic figures.

01. "Red Blue Jeans and a Ponytail" (Bill Davis, Jack Rhodes) - 2:14
02. "Hold Me, Hug Me, Rock Me" (Vincent, Tex Davis) - 2:15
03. "Unchained Melody" (Alex North, Hy Zaret) - 2:37
04. "You Told a Fib" (Vincent, Cliff Gallup) - 2:21
05. "Cat Man" (Vincent, Tex Davis) - 2:18
06. "You Better Believe" (Cliff Gallup) - 2:01
07. "Cruisin'" (Vincent, Bill Davis) - 2:12
08. "Double Talkin' Baby" (Danny Wolfe) - 2:12
09. "Blues Stay Away from Me" (Henry Glover, Wayne Raney, Alton Delmore, Rabon Delmore) - 2:16
10. "Pink Thunderbird" (Bill Davis, Paul Peek) - 2:32
11. "I Sure Miss You" (Charles Matthews) - 2:38
12. "Pretty, Pretty Baby" (Danny Wolfe) - 2:27

Bonus Tracks:
13. "Be-Bop-A-Lula" (Capitol F3450 US) (6/4/56) (Capitol 45-CL 14599 UK)
14. "Blue Jean Bop" (Capitol F3558 US) (10/56) (Capitol 45-CL 14637 UK)
15. "Blue Eyes Crying in the Rain" (From Album "CRAZY TIMES" CAPITOL T1342 & ST1342 1960)
16. "Vincent's Blues" (From Album "SOUNDS LIKE GENE VINCENT" CAPITOL T1207 1960)