CHARLIE FEATHERS/MAC CURTIS
Rockabilly Kings (Ace; CD)
A callow youth of just thirteen summers when I bought the original Polydor LP in 1974, the authentic-looking sleeve caught my eye as I flipped through the necessarily large rock 'n' roll section of Adrian's Records in Wickford, Essex, and the authentic-sounding music
caught my ears and my imagination the moment the needle hit the vinyl. For me and most of my generation who dug such retrogressive sounds, this was the butterfly's wing that started the rockabilly revival hurricane that rocked the UK and most of Europe in the 1970s.
Polydor Records had been compiling and issuing LPs from the old King Records catalogue for a good few years by 1974, but the R&B and Country compilations were not big sellers and are today almost impossible to find. To be honest, I'm not sure that Rockabilly Kings fared any better, sales wise, but to the burgeoning rockabilly fraternity it became - and remains - a legendary LP release: Forget Sgt Pepper or Pet Sounds! Containing the complete King recordings of rockabilly main man Charlie Feathers on side one and the best of Mac Curtis' cuts for the label on side two, it was a departure from the few (mainly Sun) various artist compilations that preceded it, and even though NOBODY at the time had all of the rare King 45s that comprised the LP, there was also the mean 'n' moody, worth-the-price-alone, unissued Mac Curtis cut, 'Goosebumps'.
Ace have now reissued the legendary Polydor release and added five more Curtis tracks - including an unissued take of the wonderful 'Half Hearted Love' - and five alternative takes from the Feathers sessions. Following the 1974 release, they became, and remain, two of the most recognisable icons of the music; Feathers for his songwriting skills and hiccuppy, backwoods vocals and Curtis for his youthful fire and much-copied flat-top crewcut. Topped off with a cracking 16-page booklet with notes by Brian Nevill - with some nice quotes from Mac - this is an essential purchase for anyone with the slightest interest in rockabilly, rock 'n' roll or just American roots music in general.
Via the soundtracks of films such as Tarantino's Kill Bills and the new Johnny Cash bio-pic, a new generation has been introduced to the exciting, first-generation rockabilly music of the late Charlie Feathers. Don't make do with a one-track-snack, buy this downhome feast - which includes free Big Mac - and let the feeding frenzy begin.
http://www.charliefeathers.com/
http://www.maccurtis.com/
http://www.acerecords.co.uk/
Dave Penny
LITTLE WILLIE LITTLEFIELD
Boogie, Blues and Bounce: The Modern Recordings volume 2 (Ace; CD)
Ace's second and last volume of Modern Records' answer to Amos Milburn, like most follow-ups this is not quite as indispensable as volume one, but it certainly has its
moments. One of Littlefield's three Billboard R&B hits is finally reissued here - although the Charles Brown knockoff 'Farewell' (#5, 1949) is the least appealing of the three - but this is countered by a handful of other fine, though less commercially successful releases usually in one of the pianist's two modes: Amos Milburn ('Tell Me Baby', 'The Moon Is Risin'', 'Come On Baby') or Charles Brown ('Once Was Lucky', 'Merry Christmas', 'Frightened'). It quickly becomes evident that The Bihari Brothers who owned Modern Records were more interested in grooming a clone who could imitate either or both of rival Aladdin Records biggest stars, rather than produce something more original. Sadly, the proof that Littlefield could be more original cannot be found among the 14 tracks that are either previously unissued or were not issued until Ace acquired the Modern catalogue in the 1980s; all the up-tempo boogies and blues are full of Milburnisms and scattershot triplets, while the ballads recreate the pleading vocals and tasteful chording of the late Mr Brown. Very good recreations, but recreations nonetheless, and unlike those two influential figures, Littlefield is still around and still recreating.
http://www.littlewillielittlefield.com/
http://www.acerecords.co.uk/
Dave Penny
CLYDE McPHATTER
The Genious of Clyde McPhatter (Rev-Ola; CD)
McPhatter started as a featured vocalist in Billy Ward's Dominoes, which the first seven tracks (slow blues ballads and quasi-jump blues numbers) from the beginning of the
1950s on this anthology illustrate. Recorded for Syd Nathan's Cincinatti based King Records on his Federal subsidiary, they show very well McPhatter's vocal talent. His high register, sub-falsetto singing voice has a purity of tone that sent black teenage girls into rapture. Ward was a hard taskmaster, applying the same strict band discipline (in fines etc) that would later become a feature of James Brown's regimen. Similarly, this led to ruptures in The Dominoes and McPhatter left to be replaced by a young Jackie Wilson as featured singer. McPhatter then went about forming The Drifters at the behest of his new label, Atlantic. Their debut release 'Money Honey' / 'The Way I Feel' became a #1 chart topper for eleven weeks when released near the end of 1953 and thus securing the group a loyal and adoring following. The rest of the disc is filled with McPhatter era Drifters tracks from 1954 (in which year he was drafted by Uncle Sam). On his discharge in 1955, he was resigned as a solo act by Atlantic and the years that followed are a separate story. Here however, we have the young McPhatter at his golden tonsiled best, projecting over a group of largely slow – mid paced numbers with the light gospel flavour that was part of the groups make up. As a collection of early McPhatter tracks they amply demonstrate his vocal ability.
www.revola.co.uk
Paul Martin
THE ROYALS featuring CHARLES SUTTON and HANK BALLARD
The Federal Singles (Ace; CD)
Hank Ballard's explosive (some may say devastating) professional debut in 1952 is recorded in this excellent compilation of the early vocal harmony work of Motorcity group The Royals. Formed in 1950, the group was discovered by bandleader Johnny Otis in late
1951, signed to King's Federal subsidiary in early 1952 and the earliest sessions show just how much they were steeped in the 1940s ballad style of their heroes, The Orioles (indeed, it was necessary to draft in the talents of blues-shouter Wynonie Harris to beef up 'All Night Long', the sole up-tempo track), until the younger and hipper Hank Ballard joined; even the very first version of doowop classic 'Every Beat Of My Heart' failed to click. Ballard not only brought with him a much-needed raucousness, but his self-penned songs often reflected the earthy subject matter and double-entendre nature of pre-rock 'n' roll R&B. Although, understandably, radio airplay was often denied such smut, the records still sold and began hitting the national R&B charts; 'Get It' (#6 1953) and 'Work With Me Annie' (#1 1954) brought such fame to the group that while the latter was still climbing the chart, they changed their name to The Midnighters in deference to the more-established and similarly-named "5" Royales who had just signed to the main King imprint. Ace issued a fine compilation of The Midnighters later recordings(Dancin' And Twistin' CDCHD 779) five years ago, and with this exemplary set of breath-taking ballads, jumpin' jive and nasty R&B they have now delivered the full picture. My only complaint is the booklet, which is a little below par from what we have come to expect from Ace; just eight pages - and only two of those filled with notes from vocal group expert Gordon Skadberg - so much more could, and should, have been done to match the peerless sounds.
http://home.att.net/~marvy42/Royals/royals.html
http://www.acerecords.co.uk/
Dave Penny
THE "5" ROYALES
It's Hard But It's Fair: The King Hits and Rarities (Ace; CD)
...and, talk of the devil, here is a compilation of the group that forced The Royals to change their name! First recording as gospel group The Royal Sons Quintet in 1951, the group's label, NYC-based Apollo Records, persuaded them to record secular material as The "5" Royales, achieving national chart success during 1953-'54 with the likes of 'Baby
Don't Do It' and 'Help Me Somebody'. Much to the chagrin of Apollo, they switched allegiance to King Records in the spring of 1954 where their gospel-influenced style came as a welcome and contrasting change to the generic, sweet ballad style of the existing vocal harmony groups signed to the label.
The "5" Royales had to wait until 1957 before hitting the national charts again with 'Tears Of Joy' (strangely not present here, despite the subtitle) and the classic 'Think' which reached #9 in 1957 and was covered by James Brown to hit again in 1960. Another 1957 original by the group was 'Dedicated To The One I Love' which, surprisingly, failed to chart for them, but was a smash hit for The Mamas And The Papas a decade later. In retrospect you may wonder what all the fuss was about, but taken in context and of its time, the new soulful style of The "5" Royales was quite startling. From the opening track, 'My Wants For Love', it is clear that, here, was something different, even for mid-century US music, whether ballad ('One Mistake', 'Do Unto You', 'Your Only Love') or up-tempo ('I'm Gonna Run It Down', 'Women About To Make Me Go Crazy', 'I Could Love You') or the peerless mid-tempo bluesiness that was their stock-in-trade ('Behave Yourself', 'Mine Forevermore', 'The Feeling Is Real'). Forget Ray Charles, Sam Cooke, and everything the BBC has told you, this is the real birth of soul music. The group's guitarist and prolific songwriter, Lowman Pauling, who penned all the hits and most of the tracks featured here, was Booker T & the MGs guitarist Steve Cropper's main influence (Cropper provides a heartfelt page of reminiscences in the booklet) and died of a young age in 1974. The 16-page booklet also includes an interesting article by Billy Vera and the usual essay by Tony Rounce to complete the package. Just one complaint - it should have been a double CD...or better yet a "complete" box set!
http://www.history-of-rock.com/five_royales.htm
http://www.acerecords.co.uk/
Dave Penny
VARIOUS ARTISTS
Hunky Dory: King Vocal Groups Volume 3 (Ace; CD)
Subtitled Hunky Dory (following on from Ooh Bop Sha Boo (volume 1) and Voo Vee Ah Bee (volume 2)), volume three of the King/Federal/Deluxe vocal group harmony recordings
sadly suffers from the same faults as the others (see reviews from June 2004). The opener 'Hunky Dory', although lively, is a little too close to The Del Vikings' hit "Come Go With Me", while the closer is a teen-sound updating of the classic 'Goodnight, Sweetheart, Goodnight' by Bobby Freeman. Uncomfortably, it sounds to me like a pastiche rather akin to something off the Grease soundtrack!
Certain tracks, notably those that are obviously recordings by a solo singer simply accompanied by a vocal group/chorus rather than an integral vocal harmony, are almost grounds for invoking the Trade Descriptions Act. Best groups for this reviewer are the smooth supperclub sound of The Strangers ('Drop Down To My Place'), The Buckeyes (with a gorgeous version of Buddy Johnson's 'Since I Fell For You'), and the talented Blue Chips...and, again, the new - but oh-so-familiar - alternative takes of old favourites by comparative supergroups like The Checkers, The Royals and The Lamplighters.
This volume can really only be recommended to doowop collectors who need everything; my advice for newbies would be to buy the spectacular collections by, for instance, The Platters, The Checkers and The 5 Royales. Heaven lies thataway...
http://www.acerecords.co.uk/
Dave Penny
VARIOUS ARTISTS
King Rock 'n' Roll Volume 2 (Ace; CD)
Ace's vault raiding of the Modern Records catalogue is just fantastic (although as they have owned the catalogue for the past 20 years, some critics will mutter "and about time, too!"), but personally I have been even more grateful for the fine work they are now
producing from the archives of Cincinnati's King label. They have already delivered the essentialKing Rockabilly (CDCHD 777) andKing Rock 'n' Roll (CDCHD 975) collections covering the label's white rockers, and now turn their attention to a second volume featuring King's black rock 'n' roll legacy. One of the biggest independent labels of the 1950s, with an enviable roster of black R&B/proto-rock 'n' roll artists, it is surprising that King Records never fielded a rock star of the magnitude of Specialty's Little Richard, Imperial's Fats Domino or Chess' Chuck Berry. James Brown, who joined the label in 1956, doesn't count because although he did cut some fine Little Richard-inspired rock 'n' roll in the late 1950s, he usually concentrated on soulful ballads that bore fruit for him, via a string of chart hits, in the 1960s and was never known as a rocker (sadly none of JB's King screamers are featured as all the masters were sold with his contract in the 1960s). The closest the label got was undoubtedly Hank Ballard, leader of The Midnighters, who helped usher in the rock 'n' roll era in 1954 with influential songs like 'Work With Me Annie' and 'Sexy Ways'.
Ballard is here among the two dozen prime examples of the big beat from veteran R&B performers (Roy Milton, Titus Turner), old jazzers (Johnny Pate, Gene Redd, Bill Doggett), vocal harmony groups (The Swallows, The Charms, The Bobbettes), together with the new breed of soulful young singers who would make a splash in the next great era of black music (Joe Tex, Donnie Elbert, Little Willie John). Topped-off as usual with a cool 16-page booklet stuffed with label shots, photos - dig the front cover promo shot of Hank Ballard with King prexy Syd Nathan - and excellent notes from Ace's King Records expert, Tony Rounce.
http://www.acerecords.co.uk/
Dave Penny
VARIOUS ARTISTS
The Modern Down-home Blues Sessions Volume 4 (Ace; CD)
Originally Ace planned to issue just three volumes of this worthwhile series, but the sales have been so healthy that they have decided to extend it further. SubtitledSouthern
Country Blues Guitarists 1948-1952, this new volume mixes obscurities such as Charlie Bradix and Big Bill Dotson with, by comparison, "household" names like Smokey Hogg and Little Son Jackson. During the early 1970s some of these sides were anthologised on a series of budget LPs on the United label, including tracks by an unknown performer who was arbitrarily named "Arkansas Johnny Todd" simply because label-owner Joe Bihari refused to issue a track credited to "unknown performer". It has taken 35 years for this mysterious figure to be identified, but the buzz amongst blues buffs now is that the artist is actually Lane Hardin, an obscure figure who enjoyed just one pre-war release on Bluebird Records. Whoever he really is, the "Arkansas Johnny Todd" tracks are wonderful, raggy, off-colour vaudeville blues that had little chance of issue at the time they were recorded - but thank the lord that someone kept the acetates. For my money, however, the star of the compilation is Louisiana-born, Texas-based Jesse Thomas; a phenomenal guitarist and singer who recorded for Modern Records in 1949. His four tracks here are among the most powerful of post-war down-home blues. A 16 page fact-packed booklet with notes by Jim O'Neal rounds off yet another essential instalment in this worthwhile series.
http://www.acerecords.co.uk/
Dave Penny
VARIOUS ARTISTS
Rock 'n' Roll Bell Ringers (Ace; CD)
Now here's an unusual project for Ace Records. You all remember those dodgy Hallmark Top Of The Pops LPs that Woolworths used to sell in the 1970s? We'll this is the 1950s equivalent; cover versions that were hastily recorded and rush-released in the wake
of the original hits. We in the UK, of course, had our own 1950s/1960s budget single line with Woolworth's own Embassy label, but we were less successful in recreating the new sound of US rock 'n' roll with British singers and musicians. Bell Records from New York City, with the cream of the Big Apple's session musicians and a pool of professional singers to call on, had no such limitations.
This CD compiles the best of Bell's considerable catalogue of budget covers. The pop releases have largely been ignored in favour of the rock 'n' roll hits (although most rock 'n' roll fans would vehemently deny that Perry Como's 'Juke Box Baby' or Eddie Fisher's 'Dungaree Doll' had anything to do with our music), most arranged and directed by veteran big band musician, Jimmy Carroll. The result is that a fairly faithful version of big, urbane hits is achieved ('Honky Tonk', 'The Stroll', 'Mambo Baby', 'Tweedle Dee' etc.), whereas the more rural-sounding the original, the more difficulty Carroll had in recreating it. There is notable re-arrangement, rather than recreation, on such tracks as Sanford Clark's 'The Fool', or on the two Chuck Berry tunes! Conversely, one of the best tracks is Buddy Lucas' version of 'Hound Dog', with cool guitar breaks and raucous vocal from Lucas, who refrains from blowing his usual sax solo. The final track is a 1959 cover of Jan & Dean's 'Baby Talk' by Tom & Jerry - the erstwhile Simon & Garfunkel, of course...
A fine release, with unusual and seldom heard versions of the classics and a smart 12-page booklet crammed with illustrations of the Bell picture sleeves, the only gripe I have is that this CD is the same price as the rest of the Ace full-price releases; surely as the originals were issued at a fraction of the price of the originals we should expect the same for this reissue? Er, don't bother with the Embassy retrospective, though!
http://www.acerecords.co.uk/
Dave Penny
JIMMY WITHERSPOON
Jimmy Witherspoon (Ace; CD)
B.B. KING
The Great B.B. King (Ace; CD)
One of the first independent labels to inaugurate a budget LP series, the Los Angeles-based Modern Records re-launched its Crown subsidiary in 1957 as an LP line re-issuing old Modern and RPM label jazz albums by the likes of Stan Getz and Wardell
Gray at a bargain basement price. Within a year, the company was issuing greatest hits compilations of older blues and R&B material, and it is these compilations that Ace Records have begun to reissue, boosted by a handful of other tracks from the same period which fit in well with the concept.
Both of the Crown LPs around which these two compilations are based, were released in 1960 but offer very different fare. Arkansas-born blues-shouter Jimmy Witherspoon began recording with Jay McShann's big swing orchestra in the mid 1940s, and his selection is drawn from his first spell with Modern between 1947 and 1951, while B.B. King had already been the subject of four Crown LPs beforeThe Great B.B. King was released, mopping up mainly late 1950s releases, including his then recent #2 hit 'Sweet Sixteen'.
The Jimmy Witherspoon CD is undoubtedly an essential reissue, releasing his 1950 R&B chart hits 'No Rollin' Blues' and 'Big Fine Girl' recorded live at a west coast Just Jazz concert, together with a recut of his biggest hit 'Ain't Nobody's Business' and a well-considered supporting cast of rockers ('Drinkin' Beer', 'Jump Children', 'Take Me Back Baby'), desolate jazz blues ('Failing By Degrees', 'When I Had Money') and tender ballads ('Once There Lived A Fool', 'Better Love Next Time').
The B.B. King release, on the other hand, is a real curate's egg - a very mixed bag of tracks. The original Crown selection is fine: the deservedly successful 'Sweet Sixteen, pts 1 & 2', which opens the CD, and the likes of the mid 1950s hits 'Whole Lotta Love' (#8), 'Ten Long Years' (#9) and 'Sneakin' Around' (#14) seasoned with a handful of less luminous but sterling recordings...but what was Ace thinking in adding dross such as the contrived teen fare of 'Young Dreamers' and 'Bim Bam'? The latter may be popular with dancers in rock 'n' roll clubs, but even B.B. himself has begged Ace never to reissue the track!
http://www.jimmywitherspoon.com/
http://www.bbking.com/default.asp
http://www.acerecords.co.uk/
Dave Penny
1950s SHORTS
Revola reissue in suave dig packaging, Martin Denny'sThe Exciting Sounds of Exotica (Rev-Ola). Here we have Volumes 1 and 2 which may evoke a 'so what? kind of response in the noughties, but in the 1950s, this sort of thing was designed for hi-fi hipsters to check their new fangled stereo balance. Lounge bar instrumentation is combined with chopstick sounds ('Japanese Farewell Song') or whistled bird song ('Singing Bamboos') for the delight of technically tuned ears. Of minimal relevance as music, these albums have a historical value in the development of audio sound reproduction that makes them curiosity pieces for the more outsider musically inclined. Meanwhile, back in the real world, R&B was emerging as a dominant musical form and white kids were starting to listen. Therefore Rev-Ola's The Roots of Elvis whilst probably not original in concept, is a timely reminder of where Presley's black musical influences came from. There's some good R&B on here too Willy & Ruth's 'Love Me' is a beautiful bar-room ballad whilst Darrell Glenn's 'Crying In The Chappel' brings us back to acts like The Mills Brothers (black adult 'moon in june' vocal groups) in the musical form that Doo-Wop was to replace in a young, rebellious form. Then there's the white side and Rev-Ola have put together Elvis' The King of Western Bopwhich compiles 27 early Presley recordings from 1953-'54, many of them alternate takes ('Blue Moon of Kentucky', 'I Love You Because', 'I'll Never Let You Go' etc. A useful starting reference on the map that the next half century has expanded beyond recognition.
Paul Martin
