Here are some more vital recent releases from Ace Records,ÃÂ arguablyÃÂ one of the best reissue labels in the world reviewed byÃÂ Ian Johnston.
1.Various Artists Ӊ Rock Your Baby Ӊ 24 Red Hot Rompers Chosen By Mark Lamarr
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Mark Lamarr’s presence on Radio 2 is sorely missed.ÃÂ The daring comic and DJ’sÃÂ brilliantÃÂ God’s Jukebox show, with its thrillingly eclectic selection of hidden gems from just about every possible genre of popular music you can think of,ÃÂ from the 1920’s through to the present day, wasÃÂ essentialÃÂ andÃÂ constantlyÃÂ entertainingÃÂ listening.
Those still mourning hisàabsenceàshould get aàboot outàof thisàfabulousàcollection compiled and noted by “children’s favourite uncle” Lamarr of “24àrollicking, child-friendly offeringsàguaranteed to satisfy kids of all ages.”ÂàOf course, thisàis reallyàa good excuse for a rollicking compilation ofàvintageàR&B, rock ”Ën’ roll, country and calypso numbers with nonsensical lyricsà”â which Lamarr delivers by the bucket load.à‘Rock Your Baby’ kicks off in style with R&B legend LouisàJordan’sà1947 hit ”ËBarnyard Boogie’, before taking in the “unrestrained stupidity” of DJ King Coleman’s 1967 ”ËThe Boo Boo Song’,àtheàhirsute White Knight Of SoulàWayne Cochran‘s bizarre 1963 rock ”Ën’ roll song ”ËMonkey Monkey (You Do It Like This)’ and Johnny Cash’s mean ”ËNasty Dan’, from The Man In Black’s 1975àwaxingàThe Johnny Cash Children’s Album.ÃÂ
Other highlights include Cliffie Stone’s 1951 country and western swing ditty ”ËJump Rope Boogie’, Lord Flea and his Caplyponians 1951 Caribbean number ”ËNaughty Little Flea’, the R&Bàlivingàlegend Andre Williams’ classic 1957 dance craze anthem ”ËThe Greasy Chicken’, actor and former rodeo cowboy Sheb Wooley’s ”ËMonkey Jive’àand the 1958 echo drenched ”ËBoppin’ To Grandfather’s Clock’ by Sidney Jo Lewis aka Hardrock Gunter, “That Rockin’ Man From Alabam!” If you haven’t got a broad smile on your face by the time this CD finally grinds to a halt, you really should check your pulse.
All this,ÃÂ and a really cool 50’s/early 60’sÃÂ stylechildren’sÃÂ illustration by Nickolas Nelson ofÃÂ aquiffedÃÂ and tattooedÃÂ rockin’ toddler drivingÃÂ an orangeÃÂ souped-up baby carriage.ÃÂ Also,ÃÂ if you do actuallyÃÂ have children, the whacked out Rock Your Baby might just keep the little darlings entertained forÃÂ a whileÃÂ during a long car journey.
2.àTakeshi Terauchi ”â Nippon Guitars: Instrumental surf, Eleki & Tsugaru Rock 1966-1974.
As compiler Howard Williams writes in hisàhighly informativeàliner notes, guitaristàTakeshi Terauchi is more “an elemental force” than a legend”â aunique position foràa rock musician in Japan. While notàthatàwell known in the West, he has receivedacclaimàdownàthe years from artists as diverse as The Ventures, Quentin Tarantinoàand Jello Biafra.ÃÂ
An 8th Dan of the Wado school of Karate and a Zen master of the Zuiganji temple, he is also a pioneer in the history of Japanese guitar music, record producer, author and businessman who still finds time to play for charity. Terauchi, nicknamed “Terry” by Americans who could not pronounce his name properly,àisàa former hard drinking,guitar-thrashingànonconformistàwhoàgovernedàhis band with aàfistàof ironàwhile his free handàgave the tremolo arm a serious workout. His early recordings date back to the late 1950s, with the country and western outfit Jimmy Tokita and the Mountain Playboys. Now in his early 70s, he isthankfullyàstillàrecording.ÃÂ
Terauchi has released aàhugeànumber of records in his long career, embracing country, surf, Hawaiian, rock’n’roll, funk and classical. Heàtraversed the wave of the Eleki explosion, a musical styleencirclingàsurf and beat instrumentals. The Ventures’ first trip to Japan in 1962àignited the movement, although the trend started in earnest in 1964, when Terauchi and media promoter Nabe Pro organised a hugeàgigàheadlined by the Animals and the Ventures at the Kousei Nenkin Kaikan in Tokyo. This was the year thatàTakeshi Terauchiand the Blue Jeans released their debut album “Korezo Surfing” (Let’s Go Surfing).ÃÂ
Sales of electric guitars in Japan went through the roof.àThere were several bands playing Eleki ”â notably, according to Williams,àthe Spacemen and Yuzo Kayama and the Launchers ”â but,àequippedwith his custom red Fender Jaguar,àTakeshi Terauchiàand his Blue Jeans led theàfront line.ÃÂ
Terauchiàcorrectlyàrejectsàinsinuationsàthat he wassolelyàinfluenced by the Ventures, although they were certainly no hindrance to hisàmeteoricàrise, and he often played a Mosrite, a gift from the band.His music could only have emanatedàfrom Japan, and the tracks on this collectionà(”ËGinzaàNo Onna’, ”ËAi no Kizuna’ from 1971) provideàthesubstantiation. Many are versions of traditional Japanese folk songs (Minyo), a style that became much copied. Terauchi’s speedy “shredding” technique could be said to echo Tsugaru shamisen, a unique blues-like style of percussive, semi-improvised playing from northern Japan. He revisited some of these standards for his 1974 album “Tsugaru Jongara” with the re-formed Blue Jeans.
Nippon Guitars is a fantastic introduction to Takeshi Terauchi’sàuniqueàand blisteringàmusic. àThis CD (thankfullyàalsoàissued asàa vinyl release) coversàof some of the finest beat/surfàinstrumentals(1966’s ”ËHoshi Eno Tabiji (Journey to the Stars)’, ”ËSouth Pier’),àlate 1960’s Boogalooàmotivatedàjams(”ËLet’s Go Boogaloo’,’Summer Boogaloo’),traditional–music inspiredàtunesà(1967’s ”ËSadoOkesa’)àandàlater raw Tsugaru-influencedàrockworkoutsà(”ËNambuzaka Yuki No Wakare’ and”ËJiricho Sangokushi’, aàtraditional song concerning an infamous Yakuza gangster Terauchi adapted in 1972)àfrom hisàextensiveàandàdiverseàcareer.
3.àEtta James ”â Losers Weepers With Bonus Tracks
Thankfully, AceÃÂ are continuingÃÂ to releaseÃÂ expanded versions of several ofÃÂ the greatÃÂ Etta James’ÃÂ classic but overlookedÃÂ Argo, Cadet and Chess albums.ÃÂ
Compiledàby Mick Patrick, with notes by Dennis Garvey, Etta James’ incredible 1970 album ‘Losers Weepers’àisàthe latest to receive theàfullàAce treatment, after the recent re-release of the classic 1967 LP ‘Call My Name’ and the fine compilation ‘Etta Jamesà”âàWho’s Blue? Rare Chess Recordings Of The 60s & 70s’. ‘Losers Weepers’ reallyàbrings into sharp relief some of heràgreatest music that quickly disappeared when originally released, in part because of James’àpretty direàpersonal situationàduring this periodà(the death of her mentor Leonard Chess, trying to raise a baby son,àa raging heroin addiction,àvariousàdrug-related illnesses, disillusionment with fame, arrests and incarceration)àbutàmostly because she was regarded by manyàasàbeing a spentàR&Bàunit shiftingàforce.ÃÂ
EttaàJamesàwas in prettyàterribleàphysicalàshape when she made theseàdevastatingàrecordings, but heràunbridledàrelianceàuponànarcoticsàastonishingly didànotàinfluenceàheràexceptionalàrecordings. ”ËHeavy Soul’ was theàfashionableàphraseàofàlate 60s/early 70s and theàpoweràin the two-part title trackàentirelyàclassifiesàtheàexpression. EttaàJames‘àtranscendentàversions ofàtheàgreatàAmerican songbook standardsà”ËI Got It Bad (And That Ain’t Good)’, ”ËThe Man I Love’ andàtheàemotionally grippingà”ËFor All We Know’ are the logical continuation of heràenduringàlate 1960’sàcollaborations withàtheàtalentedàarranger Riley Hampton,àwhich siredàtheàagelessà‘At Last’àalbum.
On the elevenàbonus tracks, Etta Jamesàis on equally spirited form. àThe funky ”ËTighten Up Your Own Thing’ should have been a huge hità(”ËQuick Reaction And Satisfaction’ also brings the funk),àwhile heràrevival of the Falcons’ R&Bàmasterpiece”ËI Found A Love’àmatchesàthat of the song’s original singer, Wilson Pickett. Aà1972 Wah- Wah guitar powered version of James‘à50’s Modern label recordingà”ËW.O.M.A.N’àbrings even more swagger and licentiousness to the materialà(produced the same year she did time in New York’s notorious Riker’s Island prison), while ”ËNothing From Nothing Leaves Nothing’ unflinchingly stares into the abyss of total heartbreak.
EttaÃÂ JamesÃÂ is currently seriouslyÃÂ illÃÂ and highly unlikelyÃÂ to everÃÂ recordÃÂ again, butÃÂ providentiallyÃÂ her backÃÂ catalogue is full ofÃÂ masterworks such as ‘Losers Weepers’ÃÂ that willÃÂ ensure her immortality. ÃÂ You really do need this music in your life.
4.ÃÂ Various Artists – The Flash Records Story
Charlie Reynolds was one ofàtheànumerousàblack entrepreneurs in 1950s Los Angeles who started his own independent record company, hoping to cash in on America’s post-war rhythm and bluesàtrend. As the owner of the popular Flash Record Shop at 623 East VernonàAvenue,àSouth Los Angeles,àhe knewàwhatàteenageàcustomersàwere purchasing.àFunctioningàfromàhis back room,àReynoldsàreleased 31 blues, R&B,àdoo-wop, andàembryonic soul recordsàbetween 1955 and 1959. One of themà(The Jayhawks‘à”ËStranded In The Jungle’)àeven spent a couple of weeks in theànational Top 40 charts. YetàReynolds soon discovered, the indie record business was, and probably still is,àa hustler’s game. Theàescalatingàcosts of payola and his distributors’ refusal to pay royalties for the last single until the next one sold erodedàhis profit margin. Heàultimatelyàlet Flash Recordsàevaporateintoàthe mistsàof African American musicàhistory.àBut, as thisàdynamicà2-CD, 60-songàset evinces, Reynolds had aàterrificàrun and produced more than hisàfairàshare ofàexhilaratingàandàlaudableàmaterial.
Noted by Jim Dawsonàwith compilation and archive research by Roger Armstrong,àThe Flash Records Storyàcontains nearly every Flash release ”â most of them on CDàmastered directly from the original tapesàfor the first time ”â along with a few tracks that remained in the can. Gutbucketàbluesdevoteesàwillàdigàthe blues trio of Sidney Maidenà(”ËHurry, Hurry, Baby’), Haskell Sadlerà(”ËGone For Good’)àand Bee Brownà(the raunchy ”ËMambo For Dancers’), not to mention singer-guitarist Frank Patt with pianist Gus Jenkins’ bandà(the powerhouse ”ËJust A Minute Baby’ and the Latin rhythms of the vengeful ”ËYou Going ToàPay For It Baby’), and no nonsenseàfemale blues singers Sheryl Crowley (the 45. packin’à”ËIt Ain’t To Play With!’)àand Mamie Jenkinsà(”ËJump With Me Baby’).àThere are alsoàsophisticatedàblues balladeersàJames Curryà(”ËStill Longing For You’), Paul Cliftonà(the angry, harmonica powered ”ËAre You Alright?’)àand Buddy Cypressà(”ËDon’t Forsake Me (Bop To De Lao)‘), boogie woogie pianist Judge Davisà(the self explanatory ”ËMr. Boogie’),ànascentàblackàsex symbolàNip Romanà(”ËDarling I Need You’)àand honking tenor saxophonistMauriceàSimon (the label’s instrumental anthem ”ËFlashy’).ÃÂ
LA’s most popular form of R&B in the 1950s was doo-wop, and Flash’s roster of vocal groups isàmost impressive.àThe Jayhawks, who wrote and recorded theà1956àoriginalàversionà”ËStranded In The Jungle’,àone of Flash’s biggest hits and memorably covered byàThe Cadetsàthe same year and byàThe New York Dolls in 1974, haveàall their Flash singlesàfeatured andàtheir amazing ifàtumultuousàstoryàdocumented. Flash’s other vocal group singles were one-off affairs but no less impressive: the mysterious Emanon 4, with theiràlingering, gospel influenced harmoniesàon ”ËBlues For Monday’; The Hornets,àfouràservicemen aboard the USS Hornet aircraft carrier who drove to Los Angeles during aweekendàleave and recorded only two songs in a Watts garage studioà”â the fantastic ”ËTango Moon’ and ”ËCrying Over You’; The Poets from LA’sàJefferson High School, whose ”ËVowels Of Love’ became a popular record several years later during the early 60sàdoo wop revival; andàa hip supergroupàof doo wop veterans whoànamed themselvesàThe Cubans. The Cuban’s recordings are soàextraordinaryàAce haveàincluded their entire session of five songs, plus an alternate takeàof the wonderful ”ËYou’ve Been Gone So Long’.àObviously, the collection isàaccompaniedàbyàaàlarge booklet brimmingàwith amazingàphotosàof The Flash artistsàand newlyàrevealedàinformation.
Ace has always excelled atÃÂ this type of record label overview and The Flash Records Story mustÃÂ be in the upperÃÂ echelons of the packagesthey have created to date.ÃÂ An essential purchase.
5.ÃÂ Various Artists: Dynamic Grooves: Funk And Groovy Soul From The Vaults ofÃÂ Scepter, Wand, Dynamo and Musicor
InÃÂ 1960’s New York both the Scepter, Wand, ÃÂ andÃÂ Dynamo group of labels were at the peak of the independent label scene. They had hit artists from across the whole musicalÃÂ gamut, but with aÃÂ strongÃÂ emphasis onÃÂ soul. By the late 60s, as thatÃÂ soulÃÂ world was starting to be strongly influenced byÃÂ James Brown’s groundbreakingÃÂ funk, they were in a position as establishedÃÂ operatorsÃÂ in theÃÂ businessÃÂ to sign up recordings from all around theÃÂ United StatesÃÂ of America. ‘Dynamic Grooves’,ÃÂ compiled and sleeve noted by Dean Rudland,ÃÂ focuses on the labels’ output providing a snapshot of the scene in which they worked.
ThisàmagnificentàCD acts as aàgrandàmusical tour of the USA.à‘Dynamic Grooves’àbeginsàin New Orleans with several works produced byàthe renownedàAllen Toussaint including the unbelievableà”ËFunky Belly’ by Warren Lee, Earl King’sàgroovyà”ËTic Tac Toe’, Johnny Moore’s proto-funk ”ËA Dollar 98′ and Allen’sà1970 version ofàhisàownàgreatàstandardà”ËWorking In A Coalmine’.ÃÂ
The trip continues. InàMemphis,àJoe Arnold’s hypnoticà”ËSoul Trippin”.àFrom the Carolinasàthe blue-eyed funk of the Backyard Heavies‘ ”ËChitlin’ Strut’; Benny Gordon’s backing band the Soul Brothers with theiràstridentà”ËHorsingàAround’ andfrom Washington DC,à”Ënew man’àHarmon Bethea and the Maskmen’sàoutrageousà1970àgrooveà”ËShe’s My Meat’.àHarmon Bethea’sàband leader Billy Clark’sà1968à”ËSoul PartyàPart 1‘ is even better,àunadulteratedàboogaloo funkàguaranteed toàboost anyàparty. In Philadelphia George Tindley mixes early Motown with late 60s Motown to create a Temptations-like version of Marvin Gaye’s ”ËAin’t That Peculiar’. Chicago provides plenty of funky groovesàfrom Betty Moorer, Jerry O and General Crook‘s awe-inspiringà1974 funk odyssey ”ËFever In The Funk House’.ÃÂ
Back on Dynamo’sàhome turf,àtheiràleading act Charles & Inez Foxx, who perfectly straddle the boundaryàbetween funk and soul with their ”Ë(1-2-3-4-5-6-7)àCount The Days’, one of several hits they scored for the labelàduring the late 60’sàwhen label boss Luther Dixon married Inez. There is also some blisteringàfunk from Little Grady Lewis onàthe 1970 cutà”ËSoul Smokin’àPart 1‘ and one of the finestàchunks of Latin funkàever recorded–”ËMachine ShopàPart 2‘àby theàaptly namedàUntouchable Machine Shop.ÃÂ
Twenty-oneàtracks ofàvariedàandàexhilaratingàsoul and funk music ”âàDynamic Groovesàis the essence ofàtheàfineàwork doneàbyàNew York’sàlabelsàfinest inàthe lateà1960s and earlyà1970s.ÃÂ
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