1-CD mit 16-seitigem Booklet, 20 Einzeltitel. Spieldauer ca. 53 Minuten. Die Folgen des Autounfalls von 1961 erlaubten es Hank nicht, weiter zu spielen. Damit brach eine der vielversprechendsten Karrieren der Country Music jäh ab. 1949 spielte Hank bei Red Foleys Sugarfoot Rag . Plötzlich nahm die Welt Notiz von diesem unglaublichen, erst achtzehn Jahre alten Gitarren-Jungsporn. Er wurde bald darauf von Decca unter Vertrag genommen. Seine kompletten Decca-Aufnahmen von 1949 bis 1951 sowie seine Chic-Session von 1957 wurden von uns für diese CD zusammengestellt, insgesamt 20 Songs, darunter Third Man Theme, Sugarfoot Boogie, Hillbilly Express, E-String Rag, Guitar Shuffle, Lowdown Billy und Foleys Sugarfoot Rag .
1-CD mit 36-seitigem Booklet, 34 Einzeltitel, Spieldauer 82:36 Minuten. 34 seiner Rompin´ Stompin´ songs. Seine klassischen Aufnahmen The Hot Guitar & Black Denim Trousers And Motorcycle Boots sind natürlich enthalten Außerdem enthält die CD 7 bisher unveröffentlichte Titel Smilin´ Eddie Hill war Sänger und zugleich ein Country Music-DJ der ersten Stunde. Er kam nach Knoxville, Tennessee, und begegnete dort unter anderem Chet Atkins und Johnnie & Jack. In Memphis arbeitete er dann mit den Louvin Brothers (zu ihren begeisterten Zuhörern gehörten täglich Elvis und Johnny Cash). Schließlich landete Hill in Nashville, wo er zur festen Größe bei WSM wurde, dem Radiosender der Grand Ole Opry. Eddie Hills erfolgreichste Platte war 1951 sein stampfender Hit The Hot Guitar . Natürlich ist er hier vertreten, genau wie Black Denim Trousers And Motorcycle Boots sowie Cold, Cold Woman ( The Hot Guitar ), der Steamboat Stomp , A Hard Road To Travel und Knock It Off : durchweg Musik, die punktgenau in unsere hochgelobte Country-Boogie-Reihe ´Gonna Shake This Shack Tonight´ passt! Der Rockabilly-Experte Bill Millar hat die Titel zusammengestellt, die zwischen 1947 und 1957 eingespielt wurden – also in Eddies künstlerisch fruchtbarstem Jahrzehnt. Heraus kam eine feurige Mischung aus Country, Country Jazz und Rock ´n´ Roll, damals aufgenommen für Labels wie Apollo, Decca, Mercury, RCA Victor und Columbia. Jeder Song ist ein Abbild von Eddie Hills gigantischer und trotzdem bodenständiger Persönlichkeit. Wichtig für alle Fans des außergewöhnlichen Fingerpickings: Eddie Hill war ein überaus erfahrener Musiker, der sich ausschließlich mit hochklassigen Kollegen umgab – was natürlich automatisch auf die Qualität der Songs abfärbte. Zu den Begleitmusikern gehören hier unter anderem Chet Atkins , Hank Garland und Paul Buskirk , ein Kumpel von Willie Nelson .
(Sleazy Records) - Faron Young was born on February 25, 1932 in Shreveport, Louisiana. This fact made him to know from the start the big bang of rock´n´roll and rockabilly, genres that will influence his country music ways. In his ten years at Capitol Records, where he was introducted from legendary Capitol´s A&R man Ken Nelson himself, his music developed from hillbilly and honky tonk in the early 50´s to sofisticated rock´n´roll and pop at the end of the decade, to came back strong to his honky tonk roots at the early 60´s. This EP collect four fantastic examples of his country ways from the mid 50´s, when Faron was one of the most sucessed young singers in country & western. Some of the greatest studio musicians from the 50´s are backing Faron on these tracks, including guitar luminaries as Hank Garland, Chet Atkins or Grady Martin and the whole Nashville´s A-Team. Country with a feet into rockabilly, that´s what you´ll find on this EP, so turn up the volume and enjoy! DeeJay Francho
(2011/Fantastic Voyage) 30 tracks Country music icon, businessman, theme-park owner and fast-food chain founder, Conway Twitty, also happened to be a rock & roll singer. For some reason, this latter talent has tended to lag behind in the man´s career overviews, which is nothing short of a travesty. Good that Conway´s country sides from the late sixties onwards are, they don´t have the testosterone and the kinetic energy of his MGM recordings from the late fifties. During this shoulder-shakin´ stage of his career, the man had fire in his belly, ambition in his eyes, and hope in his heart. He could roar like the lion on the MGM crest head, and he couldn´t get enough of the rock & roll stuff that drove his desires. What follows is the cream of Conway Twitty´s Metro Goldwyn crop, all of which was captured on tape at the Owen Bradley studio in Nashville twenty-eight month period beginning in May 1958. 01. Tell Me One More Time (Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM K12918 (August 1960) Conway was one busy guy right from the outset. As a case in point, ´Tell Me One More Time´ had to be recorded in between trips to Hollywood. Following a crash course in a New York drama school, the rookie rock & roller was cast in Platinum High School followed by the analogous College Confidential. However, his role as a would-be matinee idol was short-lived and he concentrated instead on developing his career as an album and singles artist. `Tell Me´, with its 2/4 time signature, featured the twin lead guitars of Hank Garland and Al Bruno. 02. Hallelujah, I Love Her So (Ray Charles) Carlin Music Corp. MGM 5E3744, MGM X 1640 (March 1959) It didn´t take long before the rock & roll fraternity began investigating the works of Ray Charles. Elvis Presley was quick off the mark with his version of Got a Woman´ and the Everly Brothers gave a new lease of life to `Leave My Woman Alone´. Conway was clearly at home with `Hallelujah, I Love Her So´, and his arrangement threw the spotlight on two key members of the Jordanaires. Gordon Stoker enforced each hook line with a florid ´Halleluh!´, and bass singer Ray Walker intro-ed the outro with an impassioned `Man, I gotta hear that again. 03. I Vibrate (From My Head to My Feet) ´I Vibrate´ ranks as one of the toughest rockers Conway cut during his MGM tenure. The song unashamedly took license from ´Great Balls of Fire´ which happened to be top of the charts when Conway and Jack Nance proffered their pens. Cut at Conway´s first session for the label, the track featured the unmistakable sound of Joe E Lewis´s Gretsch Duo Jet. Joe was a seasoned road player (he´d previously worked with Sonny Burgess) and, as can be heard here, he employed a thrashing rhythm style built around a 9th bar-chord. 04. You Win Again Wishing (UK) Ltd. MGM SE3786, MGMX 1679 (September 1959) If Conway owned a copy of Jerry Lee´s ´GBOF´, then it´s fair to say he was inspired to cut `You Win Again´ - the song that dwelt on the flipside of the record. He did though raise the key, and he allotted no less than sixteen measures for a double-length solo from Al Bruno. One of eight siblings, this pint-sized fret-boarder hailed from Ontario, Canada, where he was born Albert V. Bruneau. His arrival in the Twitty band was marked by his boss purchasing a pair of matching Gibson ES-335´s. In due course Al went on to work with Buck Owens, Duane Eddy, T. G. Sheppard and, most recently, Dale Watson. 05. Hey Little Lucy! (Don´tcha Put No Lipstick On) Chappell Music Ltd. MGM K12785 (April 1959) Jim Vienneau, the A&R head at MGM´s pop and country department, was often spoiled for choice when it came to scoping out material for the Twitty sessions. Conway happened to be an extremely inventive composer, particularly in the songs he crafted with his drummer Jack Nance. But after ´It´s Only Make Believe´ topped the charts, producer Vienneau found himself inundated with demos arriving on a daily basis from the publishing houses of New York. The delightful ´Hey Little Lucy!´ was dispatched from Aaron Schroeder with a lyric by Sharon Silbert, a writer who´d recently scored with `Schoolboy Crush´. 06. Easy To Fall In Love (Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM SE3818 (February 1960) To his eternal credit, Conway Twitty was the recognized inventor of the ´beat ballad´. With a solid backbeat and a growled vocal to convey the message, the format stood apart from the heart-on-sleeve ballads that so often sank in a sea of
1-CD mit 32-seitigem Booklet, 30 Einzeltitel, Spieldauer 79:33 Minuten. Marty Robbins , der vielseitigste aller Country-Sänger, beschritt den Weg, den ihm Red Foley geebnet hat. Erst sang er unbehauenen Hillbilly beim WLS National Barn Dance. Während des Vierteljahrhunderts für Decca erweiterte er sein Spektrum mit Western Swing, Pop und Gospel, war eine Galionsfigur der Grand Ole Opry und Gastgeber des TV-Ozark Jubilee. Foley steht außerdem für sein gefühliges Old Shep und seine ultimative Interpretation von Peace In The Valley , und er war ein Energiebündel, zu dessen eingespieltem Repertoire gradliniger Country, Boogies, Blues, Rocknummern und sein größter Country- (und Pop-)Treffer Chattanoogie Shoe Shine Boy (von 1950) gehörten. Bear Familys Red Foley -Ausgabe aus der Reihe ´Gonna Shake This Shack Tonight´ beginnt mit seiner kraftstrotzenden 1947er-Version des Freight Train Boogie ( Delmore Brothers ) und endet mit dem intensiven Crazy Little Guitar Man von 1958. Insgesamt 30 Songs zeigen hier Red Foley von seiner ungestümen Seite. Zu hören gibt es: Die Boogie-Klassiker Tennessee Saturday Night, Chattanoogie Shoe Shine Boy, Sugarfoot Rag, Milk Bucket Boogie, den Plantation Boogie, Everybody´s Gonna Have A Wonderful Time Up There (Gospel Boogie) sowie – mit Ernest Tubb – Hillbilly Fever # 2 , eine Art Parodie auf den Hit von Little Jimmy Dickens .Duettaufnahmen mit den Popsängerinnen Evelyn Knight und Roberta Lee . Swingende Einspielungen von Alabama Jubilee, Chicken Reel und Hot Dog Rag . Red Foley s Fassungen der R&B-Hits Hearts Of Stone und Shake A Hand . Begleitet wird er von der definitiven Crème der Nashville-Sessionmusiker: Zeb and Zeke Turner , Jerry Byrd , Owen Bradley , Tommy Jackson , Harold Bradley , Hank Garland , Grady Martin , Farris Coursey , Ernie Newton , Bob Moore , von den Anita Kerr Singers und den legendären Nashville Popmusikern Beasley Smith und Francis Craig .Ein bislang unveröffentlichtes Duett von 1950 mit dem legendären schwarzen R&B-Sänger/Pianist (und Decca-Künstler) Cecil Gant auf Paging Mister Jackson – dieser Song war schon damals zur Veröffentlichung vorgesehen, schien aber offenbar seiner Zeit zu weit voraus. Das Essay ist von Rich Kienzle .
(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