Single (7 Inch) auf EL TORO RECORDS von Paul Ansell / Maibell & Misfires - Lock Up Your Wife - Killing Love 7inch, 45rpm, PS
(2014/El Toro) 2 tracks Single
(2017/New West) 15 tracks, recorded October 17, 1983, 2-LP, 3-sides, gatefold cover, first time ever on vinyl. - Jerry Lee Lewis took black rhythm & blues, white gospel and other funky Mississippi sounds and turned them into rock and roll. He almost never made it to Austin City Limits. He cancelled one appearance, and only weeks before this recording on October 17, 1983, his wife died in a freak swimming pool accident at their home. But he did make it, and what we have here is one of the most amazing performances ever to go down on the ACL stage. Throughout the day he was a perfect gentleman, showing up on time and acting very graciously to one and all, but once he hit the stage, all hell broke loose.
FIRST COMES LOVE. THEN COMES MARRIAGE. THEN COMES MURDER. THE SUNDAY TIMES TOP 10 BESTSELLING THRILLER YOU WON´T BE ABLE TO PUT DOWN _________________ What if your life was built on a lie? When lawyer Lily marries Ed, she´s determined to make a fresh start. To leave the secrets of the past behind. But when she takes on her first criminal case, she starts to find herself strangely drawn to her client. A man who´s accused of murder. A man she will soon be willing to risk everything for. But is he really innocent? And who is she to judge? _________________ ´JANE CORRY IS THE NEW QUEEN OF THE PSYCHOLOGICAL THRILLER´ KATE FURNIVALL ´You will be hooked after the first page´ CLOSER ´A roller-coaster of dramatic twists . . . chilling and suspenseful´ ELIZABETH HAYNES ´Twisty, feverish and utterly gripping´ EVA DOLAN ________________ Praise for Jane Corry: ´A fearsomely good thriller´ NICCI FRENCH ´I raced through this´ TERESA DRISCOLL ´Compulsive, edgy and with some fabulous twists that I didn´t see coming!´ B A PARIS ´So many brilliant twists´ CLAIRE DOUGLAS ´Tense, taut and twisty´ RED ´Beautifully written´ PETER JAMES ´A morally complex, twisty tale´ KATE HAMER ´Psychological thriller writing at its very best´ SD SYKES ´Few writers can match Jane Corry´ CARA HUNTER
(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
(El Dorado) 19 tracks - The Willows are mostly remembered as one of the countless ´one-hit-wonders´ for their only hit CHURCH BELLS MAY RING.which was also covered by the DIAMONDS. Very few people have recognized that lead singer TONY MIDDLETON released many solo recordings in the years fol-lowing his stay with the group before he decided to become an actor-and so he appeared in the 1971 Broadway production of ´PURLIE´ (toge-ther with Ray Pollard of The Wanderers and Milton Grayson of The Dominoes). The Story of The WILLOWS goes back to 114th Street in Harlem,where Tony (born June 26,1934) in Richmond.Virgin) lived in 1952. He received an invitation to Mrs. Clarisse Martin´s house on 115th Street while he was training his boxing at a local gym. Mrs.Martin´s twin sons, Joe and Ralph,were rehearshing under her guidance with John Thomas ´Scooter´ Steele (bass),Richie Davis (1. tenor) and Bobby Robinson to be kept off the streets. Being very impressed by Tony´s fancy footwork and choreography in the ring she knew for sure that the chance to archive some success with this guy in the group would be great - if she could teach them assiduity and discipline. Having been the main impulse behind the recording career of THE WILLOWS from 1952 to 1965. she let them practise every day. So you could find the group singing at the corner of 115th and Lenox Ave. in hospitals.at church benefits and at dances at the Chelsea Vocational High School. While still known as ´The Dovers´, they sometimes used Doc Green as additional singer. One of Green´s favourite songs was ´The Whiffenpoof Song´ by the Cabineers, and so the group decided to try their luck with the same company the Cabineers had recorded for. Abbey Records under the management of Pete & Goldie Durain had meanwhile moved and changed its name to Allen Records. The first release for Allen under the name of THE FIVE WILLOWS was the streetsong MY DEAR,DEAREST DARLING, introducing for the first time the famous bass intro by ´SCOOTER´ Steele to the public. This gimmick was carefully planned to be their trademark, later reviewed in LITTLE DARLIN´ and DO YOU LOVE ME. Billboard magazine called this release in June ´kinda weird and somewhat hypnotic´, and so you can hear the group sometimes out of key, while the flipside ROCK LITTLE FRANCIS (the obligary jump) sounds amateurish, but nevertheless interesting. The 1953 formation had recorded without Doc Green (who later joined The Five Crowns.transforming into a Drifters group) and Bobby Robinson (who had already started his Red Robin Label and later owned various companies). Tony was also featured as lead on THE WHITE CLIFFS OF DOVER. while he shared the vocals with Richie on DOLORES - the latter coupled with ALL NIGHT LONG on their second Allen release in September. At the end of 1953, their third Allen record was out, but again no chart entries were noted for WITH THESE HANDS (lead by Richie). When Pete Durain decided to part business with Mr. Allen, The WILLOWS went with him and recorded their next release for Pee Dee Records in early 1954. entitled LOVE BELLS c/w PLEASE BABY. Pete Durain himself went out of business in 1954. but the group was able to record four sides for Herald (found on the Relic albums 5015 & 5047) - in the same style, but again without success. When Tony met Morty Craft in 1955, who had just left his partners at London Records to form his own Melba label. a chance to record again was in sight. The WILLOWS (as they were known now, just dropping the ´Five´) offered him a ballad entitled CHURCH BELLS MAY RING, which was written by Tony from an idea of his wife Betty. When first released as CHURCH BELLS ARE RINGING (mislabeled on early copies),it had transfor-med into a wonderful rocking tune with a now famous bass bridge (´Hello hello again.my friend. I´m hopin´that we´ll meet again´), close harmony-and as a gimmick chimes (played by the still unknown Neil Sedaka from a suggestion by Morty Craft) plus a shuffle rhythm. Hitting the r & b charts on April 18,1956. the song reached no. 11 and stayed for 2 weeks,but it had more success before on the pop charts,first appearing at no. 74 on March 28, then climbing to the middle of the Top 100 listing. Soon cover versions by The Cadets, Sunny Gale and The Diamonds fol-lowed, and The Diamonds´version nearly outsold The WILLOWS´original on all main markets. The same story happened again, and so the guys didn´t get paid more then S 200 for their million seller, even after they
1-CD mit 8-seitigem Booklet, 10 Einzeltitel, Spieldauer 24:21 Minuten. In common with most European rock & roll artists of the late ´50s and early ´60s, Johnny Hallyday´s music grew in the giant shadow cast from the United States. And, like most of his contemporaries, Hallyday nourished the dream of both recording and having a hit record in the States. Hallyday´s connection to North American showbusiness traditions was stronger than that of most of his contemporaries. He had been raised by an American dan-cer, Lee Ketcham, who had first ventured to France with the touring company of `Oklahoma´. He appeared with his wife Desta, as Lee and Desta Hallyday. Ketcham actually came from Tulsa, Oklahoma and adopted the young Jean-Philippe Smet (Johnny Hallyday) who was a cousin of Desta...
(2003/Collectables) 18 tracks (67:11) Zwei neuer Stücke plus fünf neue Coverversionen plus 11 Klassikern und eine Akustikversion des ´Abraham, Martin And John´ Klassikers! - Dion and his music represent a special time and place... a moment when a song could mean so much and a singer could sum up what it means to be young, in love and on top of the world. Today, Dion´s songs grow more important and valuable to his fans, himself and to a whole new generation of believers. ´´New Masters´´ contains all-new versions of Dion´s classic hits, a few tributes to other pioneers of rock´s first generation, and some brand new songs including a beautiful ballad Dion composed for his wife (Behind Susan´s Eyes) and a stunning response to the terrorist attacks of September 11th (Come Heal This Land).
(Star-Club) 16 tracks - Original 1957 to 1977 ´Jan´, ´Alta´, ´Capri´ and ´Lake County´ recordings, incl. a lot of unreleased stuff Gene Summers was born in Dallas, Texas in 1939. He falls into the ranks of artists who despite an obvious natural talent have failed to achieve national stardom. The Dixie Rebels subsequently abridged to just the Rebels were culled together from 3 members of Arlington State College: Gene Summers on vocals and guitar, James McClung on lead guitar and Gary Moon on drums. Completing the ensemble was Benny Williams on bass who came from Thomas Jefferson High. Gene´s first professional engagement was on Dallas TV channel 4´s Country Picnic Show. This exposure brought Gene and the Rebels to the attention of Jed Tarver, who in turn helped Gene obtain a recording contract with the newly formed Dallas label Jan Records. Throughout the country Gene´s appearances with various stars on TV and stage shows reads like a Who´s Who of the Entertainment world and he has shared billing with such stars as Bobby Darin, Fats Domino, Bo Diddley, Big Joe Turner, Chuck Berry Ray Sharpe, Gene Vincent, Duane Eddy, Eddie Fontaine, Jerry Lee, Carl Perkins, Ron-nie Hawkins, Johnny Carroll, Sid King and Joe Poovey to name but a few. Chuck Berry described Gene as ... ´a great crooner´, and Gene Vincent publicly stated that ... ´Gene Summers will be a big star´. Johnny Carroll wrote ... ´Gene Sum-mers was and is one of a kind as well as being a big part of the rockabilly scene that started in the 50´s and he still endures today. Gene always puts his unique style into every song as he has at the concerts, hops and especially when he is recording this kind of music. ´It is therefore even more surprising that in spite of all these glowing testimonials Gene has never made it in a big way. That essential element of luck has always eluded him. After leaving the Jan-Jane label. Gene recorded for Chess (1960) as the Bill Smith Combo, Alta (1962), La-fayette (1962) and Donnybrook (1963). In 1962 Gene re-corded 2 tracks for Mel-O-Records of Chicago which re-main unissued. It was on Donnybrook that ´Blue Diamond´ first appeared before being picked up by Huey Meaux´ Capri label which issued it in 1963, with Jamie putting it out a year later. With this record Gene had his second regional hit - the first being Straight skirt/ School of Rock´n´roll on the Jan label, his first record - but it was his second Capri rele-ase, the racous ´Alabama Shake´ that really confirmed his stature as the fine singer that he is. The song is a piece of vintage rockabilly. Following on from Capri, Gene next appeared on Shane (1964), Donnybrook (1966), Capri again (1966) and Charay (1966) where he recorded The Clown/Green Eyed Monster for Major Bill Smith. After its initial release on Charay 47 it was aquired for national release by Mercury. Further titles were issued on Soft (another Major Bill Smith label) and teardrop in 1966. In 1968 Gene formed Domino Records as an outlet for his own material which he recorded for Silicon Music Productions - a company he had formed back in 1962. The first record to be released on this label was ´Who stole the marker (from the grave of Bonnie Parker) / The table on my right (Domino 101), recorded in a country-pop vein. After this there were records on Domino in 1970. 1971 and 1975, Charay in 1971, Maridene 1971, Front Row 1976 where he recorded under the pseudonym of Ricky Ring-side, Teardrop (1977) and currently in 1979. LeCam Records. In 1971 Gene had a record issued in Australia on W&G label which coupled Hot Pants/The Young Voice Of Child-ren. In 1977 Straight Skirts/School Of RnRoll was issued in England on Record Mart. The Swiss Lake County label run by Michel Cattin has issued two albums from Gene -which combine titles specially recorded for the label and older material. Gene´s immediate plans are the same as they have al-ways been: namely performing and recording, and to meet the fans who have stood behind him through the years. His investments in real estate over the years have secured his future for him and his family. In August 1979, Gene and his son Steve signed a contract with Century Casting for TV commercials and films. The Summers family, wife Dea and sons Dusty Steve and Shaun, reside in Garland, Texas. Gene and Dea have been married for 18 years, and now Gene´s ambition is to get that elusive hit record: it´s an achievement he is determined to make, ´I will never give up and some day it will be