Rip It Up! “The London American Label: 1956” Spotlights Rock and Roll from Little Richard, Carl Perkins, Chuck Berry, More

Did any label impact the taste of record-buyers in the United Kingdom in the early rock-and-roll era than that of London?  Ace Records has been chronicling the activities of the London American label on a series of definitive releases culling the best of the label’s 45s from one given year.  Previous volumes have covered every year between 1957 and 1963, and for the most recent addition to the series, Ace has turned the clock back to 1956.  In that year, London’s output included American singles first issued on Dot, Atlantic, Liberty, Imperial, Cadence, Sun, ABC-Paramount, Chess and Specialty, meaning that one label alone introduced the U.K. to classics from Little Richard, The Drifters, Carl Perkins, Chuck Berry and Andy Williams.  All of those artists and many more are represented on The London American Label: Year by Year 1956.

Compilers Peter Gibbon and Tony Rounce have taken pains throughout this ongoing series to showcase every facet of the London American label.  For those readers not yet up-to-date on its story, The London label first appeared in America in 1934 representing British Decca’s operations in America. Back in Britain, the London logo made its debut in 1949 releasing material from its American counterpart, but also from early U.S. independent labels. It was in 1954 that a new prefix (HL) and numbering system (8001) was introduced, and it’s this series that is the focus of the Ace compilations. Some American hit records appeared on EMI’s Columbia, Parlophone and HMV labels, but the cream of the crop was usually on London.

In 1956, London American issued 139 singles, which the fine liner notes inform us was 33 more than in 1955 but far short of the 242 in 1958.  Of those 139 releases, 23 made the U.K. Top 40 and 10 made the Top 10, not a bad percentage at all!  Rock and roll and R&B were starting to take hold in 1956, and this volume opens with Little Richard’s searing admonishment to “Rip It Up.”  Then there’s Chuck Berry’s atypically haunting “Down Bound Train,” Carl Perkins’ Beatle-influencing “Honey Don’t,” and Bobby Charles’ original version of his rockin’ New Orleans sing-along, “See You Later, Alligator,” more famously recorded by Bill Haley and the Comets.  The “white R&B” of Pat Boone, later to prove controversial, was still going strong in 1956.  The compilers here have chosen a comparative rarity: Boone’s recording of the Five Keys’ “Gee, Whittakers.”  Boone actually scored London its very first chart-topper of the rock-and-roll age with his 45 of The Flamingos’ “I’ll Be Home,” also the best-selling record in the U.K. in all of 1956.  Both The Drifters and original lead singer Clyde McPhatter received their first U.K. releases in 1956 on London; the group is included here via “Soldier of Fortune” and McPhatter with “Seven Days,” both originally on Atlantic in the United States.  Blues great “Big” Joe Turner appears here with another Atlantic platter, Jerry Leiber and Mike Stoller’s “The Chicken and the Hawk,” a song also covered by artists as unlikely as Steve Lawrence!

There’s plenty more after the jump, including a full track-listing and order link!

Release Round-Up: Week of April 17

Janis Joplin, The Pearl Sessions (Columbia/Legacy)

Essentially a new double-disc deluxe edition of Joplin’s final album, with mono single mixes and a heap of mostly unreleased session outtakes as bonus tracks.

Little Richard, Here’s Little Richard (Specialty/Concord)

One of the cornerstone albums of modern rock is newly remastered and expanded with two demos, video content and an interview with Specialty label founder Art Rupe.

Bob Marley & The Wailers, Marley: The Original Soundtrack (Tuff Gong/Island)

It won’t supplant Legend, but this new two-disc compilation (to tie in with the new film) features hits, early obscurities and an unreleased live version of “Jammin'” from the historic One Love Peace concert.

Aretha Franklin, Who’s Zoomin’ Who? Deluxe Edition (Funky Town Grooves)

The Queen of Soul’s legendary ’80s comeback, expanded with every mix and edit of hit singles like “Freeway of Love,” “Sisters Are Doin’ It for Themselves” and the title track.

Cowboy Copas/Little Willie John/The Ad Libs, Complete Hit SIngles As & Bs (Real Gone Music)

The latest from Real Gone compiles singles from pioneers of their genres (country for Cowboy Copas, doo-wop for The Ad Libs and R&B for Willie John).

Grand Funk Railroad, Mark, Don & Mel 1969-71 (Iconoclassic)

This classic GFR compilation has been released by Iconoclassic before, but previous copies were plagued with mastering issues. Now, they’ve all been cleared, and if you buy now, you’ll get a good one.

Luther Vandross, Hidden Gems (Epic/Legacy)

In honor of what would have been the late crooner’s birthday, a new single-disc compilation highlighting lesser-known album tracks and soundtrack rarities.

Donovan/Brooks & Dunn/Alan Jackson/Mariah Carey, The Essential (Legacy)

Four double-disc Essential sets from Legacy, but only one (from recent Rock and Roll Hall of Fame inductee Donovan) isn’t a repackaging of a prior compilation.

Bowie, McCartney, Joplin, Springsteen, Clash, Davis, Small Faces, More Lead Record Store Day Pack

We’re just three weeks away from Record Store Day on April 21, and following individual announcements from fantastic labels like Omnivore Recordings, Concord Records, Sundazed Music and Rhino/Warner Bros., we can finally reveal the full line-up of RSD-related goodies!

These limited editions, available at independent music retailers across the U.S. and even internationally, are primarily vinyl releases in various formats (7-inch, 10-inch, 12-inch, etc.) and range from replicas of classic albums to EPs and singles premiering exclusive content.  Some of our favorite artists here at TSD HQ are represented, including David Bowie, James Brown, Dave Brubeck, Miles Davis, Lee Hazlewood, Janis Joplin, Buck Owens, Paul Revere and the Raiders, Bruce Springsteen, and even the “odd couple” pairing of Neil Young and Rick James as members of Motown’s The Mynah Birds!  All told, there’s plenty for fans of rock, pop and jazz on offer this year!

Without further ado, hit the jump for our exhaustive list of RSD releases related to the catalogue artists we celebrate each and every day here at The Second Disc.  For those in need of a checklist, you can find a downloadable PDF here of the complete list, and this official Record Store Day list also includes all of the releases of a more recent vintage.  Sound off below on which title you are most eagerly awaiting, and thanks for supporting your local independent record retailer!

Paul McCartney, Little Richard, Dave Brubeck Due From Concord on Record Store Day

What do Paul McCartney, Dave Brubeck and Little Richard have in common?  All three will be recipients of exclusive, limited edition Record Store Day releases from our friends at Concord Records.  Since its founding in 2007, Record Store Day has become an institution at many independent shops, and has even gone global with the participation of international retailers.

As previously reported, a 7-inch vinyl single from Paul McCartney will prove a highlight of Concord’s roster and kick off the reissue program for the Archive Collection release of 1971’s Ram.  “Another Day” b/w “Oh Woman, Oh Why” was recorded in 1970 during the Ram sessions. It was the first single of McCartney’s solo career, and kicked it off in high style, selling over a million copies worldwide. It was a No. 1 hit in France and Australia, in the U.K. it reached No. 2, and in the U.S., it peaked at a none-too-shabby No. 5.

Tying in with another expanded reissue from Concord is a special RSD-exclusive 12-inch red vinyl LP of Little Richard’s 1957 Specialty album Here’s Little Richard.  This special pressing of the original album classic includes familiar hits from the piano-pounding rocker including “Tutti Frutti,” “Rip It Up,” “Slipin’ & Slidin’,” and “Jenny Jenny.”  It has been remastered from the original analog tapes.

Rounding out Concord’s reissue trio for Record Store Day is a 1952 recording from The Dave Brubeck Octet.  Originally released on the Fantasy label, Distinctive Rhythm Instrumentals offers eight tracks from personnel including Brubeck (piano), Bill Smith (clarinet/baritone saxophone), Paul Desmond (alto saxophone), David Van Kriedt (tenor saxophone), Dick Collins (trumpet), Bob Collins (trombone), Ron Crotty (bass), and Cal Tjader (drums).  These highly experimental jazz recordings can be yours on 10-inch red vinyl.

Hit the jump for more, including the details of Concord’s more modern-skewing releases, plus track listings for each of the reissued titles!

Aces High! “The London American Label: 1957,” “Mod Jazz Forever” and “Smash Boom Bang: Feldman-Goldstein-Gotteher” Available Now

Smash!  Boom!  Bang! 

The ace compilation experts at, well, Ace Records are offering up plenty of Smash, Boom and Bang (both in impact and in label name!) for your buck with their diverse slate of February releases.  You’ll find top-drawer pop, rock and soul for connoisseurs and beginners alike among the label’s latest.  Perhaps the most unexpected is the new entry in the label’s long-running Songwriters and Producers series.  Smash Boom Bang!  The Songs and Productions of Feldman-Goldstein-Gotteher (Ace CDCHD 1317) turns the spotlight on those three named gentlemen who supplied hits for The Strangeloves, The McCoys and The Angels, not to mention the young Ronnie James Dio.

Although the surnames of Bob, Jerry and Richard didn’t have the easy ring of “Mann and Weil” or “Goffin and King,” they travelled the same New York streets.  Encouraged early on by Snuff Garrett and Wes Farrell, the F-G-G team hustled songs to a wide variety of artists across genre lines.  If you don’t know the names of Messrs. Feldman, Goldstein and Gotteher, you’ll undoubtedly know “My Boyfriend’s Back,” “Hang On, Sloopy” and “I Want Candy,” and you just might be surprised to find that all three songs were the work (either in songwriting, production or both) of the same team.  Smash Boom Bang takes its name from three prominent labels, the last of which was founded by Bert Berns.  As Berns’ tragically short-lived career has already been anthologized by Ace, this collection makes the perfect companion to those earlier two volumes.

Producers Rob Finnis and Mick Patrick have curated the set to include the most famous recordings by the team, but there are expectedly delicious rarities blended in, as well, including Dion DiMucci’s demo of “Swingin’ Street,” a F-G-G song with a barroom sing-along feel.  Even “My Boyfriend’s Back” and “Hang On, Sloopy” appear in their original, unedited versions, adding value for the collector.

Perhaps unsurprisingly, there are plenty of choice “sixties girls” sounds.  Patty Lace and the Petticoats’ “Girl, Don’t Trust That Boy” is a quintessential, if largely unknown, girl group record from 1964, but it’s no surprise that the team had mastered the girl group genre, having written “My Boyfriend’s Back” the previous year.  The story behind that masterwork is still one shrouded in mystery, but Finnis goes a long way in explaining the brouhaha in his copious notes.    When The Angels fell out with F-G-G, they attempted to replicate the group’s sound on a variety of records such as The Pin-Ups’ delightful “Lookin’ for Boys,” though their mileage varied.  One standout track is Debra Swisher’s 1965 take on The Beach Boys’ “You’re So Good to Me,” with Swisher’s recording tougher than the original.  Her piercing lead vocals lend the song an entirely new dimension.  The track was arranged by one “Bassett Hand,” proving that the F-G-G team couldn’t resist a good pun!  F-G-G tried to combine the best of both worlds with The Powderpuffs’ rather humorous “You Can’t Take My Boyfriend’s Woody” (“It don’t look like much, but when he pops that clutch/You’ll think you’re in reverse!”) slyly aping the early Beach Boys style.

We continue with this hitmaking trio, plus lots more – including track listings and order links for Smash Boom Bang, Mod Jazz Forever and The London American Label 1957 – after the jump!

A-wop-bop-a-loo-lop-a-lop-bam-boom! “Here’s Little Richard” Returns in April

When compiling our reissue review on Rolling Stone‘s greatest albums of all time last year, it was a bit of a surprise at Second Disc HQ to learn, for all the reissues of Little Richard’s classic Here’s Little Richard on the market, that few of them were particularly archival-oriented. That’s about to change this year, though, with an expanded reissue of the iconic album by Concord Music Group in April.

Richard Penniman was no stranger to performing and recording when he released his first single for Specialty toward the end of 1955; he had cut tracks for RCA and Peacock in the years before. But his first 45 for Art Rupe’s label, a full-tilt boogie-blues jam called “Tutti Frutti,” was not the work of a merely contented jobber. In three takes over 15 minutes, Richard created what is now seen as perhaps the first quintessential rock and roll song, with the iconic, nonsense-syllable intro; the high, keening vocal take and a down ‘n’ dirty fistful of piano keys. “Tutti Frutti” peaked at No. 2 on the R&B singles chart and was a No. 17 crossover pop hit; follow-up “Long Tall Sally” did even better, reaching No. 6 pop and No. 1 R&B. (“Slippin’ and Slidin'” and the powerhouse single “Rip It Up”/”Ready Teddy” were additional Top 10 singles on the R&B charts.)

While Richard would record one more album for Specialty with its own share of hits (“Good Golly Miss Molly,” “Keep A-Knockin'”) before walking away from rock for gospel music (and spending a career careening between both genres). But he really didn’t need to say much more about secular music: Here’s Little Richard made him an unquestionable legend.

This new release of Here’s Little Richard is augmented with a nice smattering of bonus content, some familiar (demos of “Baby” and “All Night Long,” first heard on the great Specialty Sessions box set released by Ace Records in 1989) and some brand-new (a never-before-heard interview with Specialty founder Rupe and two “screen test” clips of “Tutti Frutti” and “Long Tall Sally”). The disc is augmented with new liner notes by R&B musicologist Lee Hildebrand and the original LP’s liner notes.

Here’s Little Richard bops back into your life on April 17. Hit the jump for the full specs and keep an eye on this post when a pre-order page is ready!

The Second Disc Buyers Guide: The 100 Greatest Reissues of All Time, Part 11 (#50-46)

And so starts the second half of our 100 Greatest Reissues feature! We’ve taken Rolling Stone‘s list of the 100 greatest albums of all time from 2003 and scoured the history of each one on compact disc, making note of masterings, packaging and bonus tracks wherever possible. These next five are some of the definitive statements in their respective genres, from rock to rap to reggae to jazz; we’re sure there’s something for everyone in this entry!

50. Little Richard, Here’s Little Richard (Specialty, 1957)

With a handful of nonsensical syllables – “A-wop-bop-a-loo-bop-a-lop-bop-bop” – Richard Penniman helped shape rock and roll forever. Two years of killer singles and definitive performances of the genre culminated in Here’s Little Richard, his first long-playing record. (Believe it or not, it was one of his only for Specialty Records; after another self-titled album the next year, he would turn his back on rock for gospel music, and would spend much of his career between the two.) In addition to “Tutti Frutti,” key tracks included “Rip It Up,” “Ready Teddy” and the equally iconic “Long Tall Sally.”

Despite its deserved status in the rock canon, Here’s Little Richard is sort of a subdued title on CD. First released by beloved U.K. label Ace in the late ’80s (CDCHM 128), that release remains in print. A Mobile Fidelity hybrid SACD release (UDSACD 2028, 2006) paired Here’s Little Richard with its self-titled follow-up; both are found together on CD in this set by the import Hoodoo label. (A Mobile Fidelity vinyl pressing – MFSL 1-287 – also exists.) Completists will want to check out two boxes entitled The Specialty Sessions that exhaustively chronicle this fertile period in rock history: a hard-to-find six-disc version by Ace (ABOXCD 1, 1989) and a slightly easier-to-find triple-disc set on Specialty 8508, released a year later.

49. The Allman Brothers Band, At Fillmore East (Capricorn, 1971)

On the surface, The Allman Brothers looked like your typical Southern-fried rock band. Digging deeper, though, they were a strong band with deep connections to each other onstage. Their work over two nights at the Fillmore East in March of 1971 suggests a jazz collective as much as good ol’ boys, and the subsequent live album, with its insanely prodigious extended jams (some stretching all the way to 20 minutes), was one to listen to no matter how much you liked country. The Fillmore shows also proved ripe for the group’s subsequent album, Eat a Peach – which featured extras from the shows (including the half-hour “Mountain Jam,” extended over two sides of vinyl!) – as well as the sound systems of fans everywhere, with the alternately mixed and edited quadrophonic pressings of the album serving as a treat to early adopter audiophiles.

The first CD release of At Fillmore East was a double-disc set in Europe on Polydor (823 273-2) in 1986. Dennis M. Drake receives digital mastering credit. In 1989, the Dreams box set (Polydor 839 417-2) featured two tracks from the original LP (“Whipping Post” and “In Memory of Elizabeth Reed”), as remixed from the quadrophonic masters. It also included an unreleased track from those March 13-14 shows, “Drunken Hearted Boy.” The Fillmore tracks from At Fillmore East, Eat a Peach and Dreams, along with one other track (“Don’t Keep Me Wonderin’,” first released on 1972’s Duane Allman: An Anthology), were re-edited and remixed for 1992’s The Fillmore Concerts (Polydor 314 517 294-2); that same year, Mobile Fidelity Sound Lab remastered the original album on two gold CDs (UDCD 2-558).

In 1997, the original album, remastered by Suha Gur, was released on CD as Capricorn 314 531 260-2. The next year, a DTS CD (DTS Entertainment 710215 4410 2 3) provided the first CD edition of the album with the original quadrophonic mix. Gur remixed and remastered the Fillmore material yet again for a Deluxe Edition (again, with one more track, “Midnight Rider” from Duane Allman: An Anthology II). That set (Mercury B0000401-02, 2003) was followed a year later by a hybrid SACD version (Mercury B0000400-36) of the original album – the final word, for now.

After the jump, it’s all about the rhythm and the rebel, in more ways than one!