(2000 ´Delmark´) (68:48/14) Gutes neues Album der starken Sängerin, die sich diesmal neben klassischen Bluesthemen z.B. auch ´Nutbush City Limits´, bekannt von Tina Turner, vorgenommen hat / fine new effort from this powerful singer. Besides her classic Chicago style blues you´ll also find songs like ´Nutbush City Limits´. ZORA YOUNG - voc, JAMES WHEELER - gtr, DANNY DREHER - gtr, KEN SAYDAK - pno, JOHNNY B. GAYDEN - bass, TIM AUSTIN - drums. Learned My Lesson is the celebration of Zora Young´s lifelong love affair with the blues.This is Zora´s first album on an established American label which is surprising since she is one of the most creative blues singers in Chicago. Zora was born in West Point, Mississippi and raised in Chicago where she grew up singing gospel music in a south side church. After years in the R&B ´´chittlin circuit´´, she switched to blues and since then has shared the stage with B.B. and Albert King, played the Chicago Blues Festival many times and tours Europe regularly. Zora´s voice ranges from a melancholy whisper to a rock ´n´ roll scream, and she will have you in her corner with one listen. With this album Zora Young has finally arrived to claim her rightful place as a contemporary blues powerhouse.
(2011/Halb 7 Records) 17 Tracks - Best of South German Psychobilly!
(2009/Halb 7 Records) 18 Tracks - Best of North German Neo Rockabilly und Psychobilly!
(2007/Halb 7 Records) 13 Tracks - Best of East German Psychobilly!
(2009/dandyland/cargo) 12 tracks Imagine the bastard offspring of Nick Cave and Leonard Cohen who had been taught to play by Johnny Cash and had spent his Summer afternoons receiving singing lessons from Jim Morrison fronting a 21st century hybrid of Lindisfarne and The Doors, and you´ll start to get the picture.
(2004 ´Delmark´) (66:30/13) In Mississippi geborene Sängerin, die heute zu den bekannteren Bluessängerinnen in Chicago zählt. Gutes Studioalbum / Born in Mississippi, Zora Young´s regarded one of the finest blues vocalists today in Chicago. Superb studio album. ZORA YOUNG - voc, PETE ALLEN - gtr, BOBBY DIRNINGER - pno/kbd, LEE CAIN - bass, KERMAN FRAZIER - drums, plus horns (2 tracks). Of her first Delmark CD Learned My Lesson (Delmark 748) Living Blues magazine said ´Her rough-edged croon can raise welts or love bumps. She has the versatility to strut comfortably from back-alley funk to uptown jump sophistication.´ Tore Up From The Floor Up features five original compositions, some choice covers and an interview. Guitarist Pete Allen provides most of the musical direction while The Chicago Horns provide support on ´Til The Fat Lady Sings´ and ´Ace Of Spades.´
(1995/Brill Tone) Original Brill Building recordings - 57 tracks (31 unreleased) with 12 page booklet. - Gerry Goffin and Carole King are always and rightfully described as the most popular and prolific songwriters of their era, the early Sixties. It was a golden age for minority sounds: the music of soulful, urban or black vocal groups, the best of whom Were perhaps the Shirelles and the Drifters, given material by writers and producers who were young, gifted and Jewish. Gerry Goffin was born in Queens, New York, on 11 February 1930. Although he started writing lyrics over his own one-dimensional melodies when he was eight, he became a qualified chemist before making a career of songwriting many years later. Carole King, née Klein, was born in Brooklyn on 9 February 1941. She started piano lessons at four, tutored by her school-teacher mother. Outgoing and determined, she had formed her own group, the CoSines, by the age of 14 and danced in the aisles at the Alan Freed rock´n´roll shows. By her mid-teens King was signed to ABC-Paramount Records. She then teamed up with Paul Simon to make demo records of other writers´ songs for Frankie Avalon, the Passions and the Fleetwoods. It was not a stunning beginning. At Queens College, however, the quiet lyricist who wrote terrible music crossed paths with the chirpy composer who wrote bad lyrics. Their musical collaboration grew into something more, and they married in 1958. It was Neil Sedaka who opened the door for Goffin and King to join Don Kirshner´s songwriting team at Aldon Music. By the end of 1960 they had written numerous songs but had met with little success. The news that producers Leiber and Stoller were looking for a follow-up single to the Drifters´ ´´Save The Last Dance For Me´´ changed all that. Goffin and King took demo singer Tony Orlando into the studio and cut four songs, including ´´Some Kind Of Wonderful´´ (which the Drifters actually used) and Will You Love Me Tomorrow´´. Arranged by Carole King and sung by the Shirelles, ´´Will You Love Me Tomorrow´´ gave the team their first and biggest hit song. It became a US Number 1 in early 1961 and reached Number 3 in the UK.
(Relic) 24 tracks - The Marcels were one of the best doo-wop groups of the early sixties. Born and bred in Pittsburgh, Pennsylvania, this racially-mixed group established their own style of exaggerated bass vocals accenting sometimes frantic, double-time harmonies and riffs. They took a staid Rodgers and Hart 1934 standard, ´´Blue Moon,´´ and propelled it to #1 in an exciting rush up the 1961 charts. The Marcels were one of the first r&b groups to be honored with an LP release almost immediately on the heels of their initial chart topper. One listen to the April, 1961 Colpix ´´Blue Moon´´ LP proves that the Marcels were a class act. They had learned their r&b lessons from their predecessors very well, but they were far more than just mere imitators. Colpix stayed with them for three years and over a dozen singles, despite their dwindling fortunes after ´´Blue Moon,´´ ´´Summertime,´´ and ´´Heartaches.´´ This compact disc contains 24 prime cuts by the Marcels, many of which were early rehearsals and demos for future session possibilities. Their first manager, the late Jules Kruspir, thoroughly rehearsed the group and encouraged them to sing or practice what are now rock & roll standards. Several tantalizing tapes were found in Kruspir´s effects after he died. They eventually were purchased by Ed Engel of Crystal Ball Records in New York City, who issued the bulk of these songs on two Marcels´ Crystal Ball albums in the eighties. Brandon Cody (from the linernotes)
(2016/Sundazed) 12 tracks - Recorded between 1965 and 1968! Female Kick-Ass Garage stuff! Colored Vinyl! The archetype for the ´60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path. The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, ´´By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band.´´ Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. ´´You´re on,´´ responded Leone, ´´in two weeks. Three songs!´´ The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. ´´In the beginning, there was a lot of skepticism,´´ remembers Patti, ´´especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if ´Girls playing?! Yeah, right!´ It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise.´´ Next they were asked by Leone to record and release a single on his Hideout label. That March 1966 release is now regarded as the greatest ´´girl garage´´ single of the era: ´´Never Thought You´d Leave Me´´ b/w ´´What a Way to Die.´´ ´´Dave brought lyrics, and we put the songs together quickly,´´ remembers Patti. ´´We felt very legit in making this record at a small local studio. Nan was the sexy voice on ´Never Thought You´d Leave Me,´ and there was lots of laughter as Marylou added the screams on ´What a Way to Die.´´´ Suzi Quatro remembers the recording as ´´very important and memorable.´´ The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). It was a very versatile group, remembers Patti, with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars. The gender bias was my hot button, recalls Arlene, along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers. For Suzi, though, this period was where she learned her craft: I considered myself a musician, and didnt really think about gender too much. Two tracks recorded in 1967, but unissued at the time, Elevator Express and Gotta Get Away, highlight the bands growing musical maturity since their Hideout debut. Detroit was the best learning ground in the world for musicians, recalls Suzi, with an amazing energy and creativity that is in every successful artist that has come out of the city. We were actually one of the earliest Detroit bands traveling the country, adds Patti. Everyone wanted this unusual allgirl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between. Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Hellers in New Yorks Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their
(Silvertown) 14 Titel - Original LP von 1983 - Aufgenommen wurde sie ebenfalls 1983 in Manchester, Grossbritanien Clarence ´frogman´ Henry is one of those rare names in the music world that is as interesting and exciting today as when he started out. few sixties artistes have received such continuous ´golden oldie´ airplay year alter year. Barely a week goes by without the strains of ´But I Do´ — his multi-million seller — hitting the airwaves. What is it that makes particular records and certain artistes command such extraordinary loyalty and fondness amongst presenters and public alike? New Orleans born Clarence Henry is a some example of this phenomenon. He absorbed the jars, boogie and rhythm-and-blues influences of his home town during the fifties and was signed to a record contract in 1951. His hrst single ´Ain´t Got No Home´ was a Billboard Chart Number 1, and featured his now famous vocal ´croaking´ effect which rapidly earned him the unusual but unforgettable middle name which subsequently became known around the world. ´frogman Henry first achieved international recognition in 1961 with ´But I Do´, a single which made the top ten in eighteen countries and scored over three million sales worldwide. The follow-up ´You Always Hurt The One You love´ enjoyed similar international success. In the early sixties he visited Europe twice, and also played tours in Canada, Australia, South America and the far East when not working across the States, where his bouncy, uncomplicated rock ´n´ roll style was always in demand. This was highlighted in 1965, when he was featured as special guest on the Beatles´ first ever 11.5 coast to coast tour. The seventies saw ´frogman Henry concentrating far lesson louring, in ordel to spend more time at home in New Orleans with his family. Always a strong favourite in his home state in Louisiana, and throughout the American South ´frogman´ appeared regularly in the late ill´s at R ´n´B festivals, special events, revival concerts and Mardi Gras balls, whilst at the same time enjoying a ten year residency on Bourbon Street, New Orleans, where the frogman´s nightly cabaret was accurately billed as the top tourist attraction on the strip. This record-breaking stint concluded in 1982, when he refused the inevitable offer to continue, in order to make a break for other projects. This album is one of the benelits of his desire for change. It took many years before this project came to fruition, but the dynamic, week-long sessions featured top studio players. Recorded in Manchester, it produced this 14-track album of high quality.