Ace’s “Black America Sings Bacharach and David” Features Dionne, Aretha, Cissy, Nina and More

In retrospect, it might be telling that Burt Bacharach’s first recorded song, “Once in a Blue Moon,” was cut in 1952 by Nat “King” Cole. From those earliest days, Bacharach and his lyrical partner Hal David saw their songs recorded by a host of African-American artists: Johnny Mathis, Gene McDaniels, Joe Williams, Lena Horne, and Etta James among them. Once the duo began to change the sound of American music with their ultra-cool, sophisticated pop-soul compositions, those songs were most frequently interpreted by African-Americans: The Shirelles, Jerry Butler, Lou Johnson, The Drifters, Aretha Franklin, and of course, Dionne Warwick. It’s no small feat to distill the best of Bacharach and David’s R&B recordings onto one disc, but Ace Records has proved up to the task with the release of Let The Music Play: Black America Sings Bacharach and David. This 24-track compilation follows similar releases for Lennon and McCartney, Bob Dylan, and Otis Redding, and draws from the halcyon period between 1962 and 1975. For much of that period, Bacharach and David’s songs were rarely far from the top of the pop and R&B charts. As per Ace’s custom, the set includes both the familiar hits and the lesser-known tracks that just might become future favorites.

Songwriter-producers Jerry Leiber and Mike Stoller were among the earliest professionals to champion Bacharach and David’s work. Both teams were integral to the sound of so-called “uptown soul” in which strings and Latin rhythms melded with gutbucket R&B to create some of the most indelible records ever made. Both of those elements are present on Leiber and Stoller’s production of Marv Johnson’s majestic 1963 recording of “Another Tear Falls,” one of B&D’s songs that fell short of hit status. Johnson passionately navigates its martial beat and darkly brooding orchestration, and Bacharach’s signature unexpected melodic shifts and rhythms are already in place. (Just listen to the song seemingly end around the 2 minute, 7 second mark, only to return with a coda – a device which Bacharach would revisit in the future.) Leiber and Stoller also produced a couple of other stunning tracks here, like Jerry Butler’s booming original recording of “Message to Martha” (later “Michael” in Dionne Warwick’s version) and The Drifters’ dramatic “In the Land of Make Believe.” With its nearly-operatic vocals and offbeat jazzy instrumental noodling, it’s one of the more unusual items in the Bacharach and David catalogue and all the more beguiling for it.

Thom Bell, along with his Mighty Three music partners Kenneth Gamble and Leon Huff, updated the “uptown soul” ethos for a new generation with The Sound of Philadelphia. Bell, who recently (and correctly) described his own music as “Bacharach-strange,” is represented on Black America Sings Bacharach and David with his 1968 production and arrangement of “Alfie” for The Delfonics. Bell delivered his ultimate homage to Bacharach with his reinvention of “You’ll Never Get to Heaven” for The Stylistics in 1972, but the lush, William Hart-led “Alfie” is no less classy. Bacharach’s influence on Philly soul is evident elsewhere, too. The Orlons made the most of a straightforward Richard Rome arrangement of “Anyone Who Had a Heart,” but it wasn’t enough to restore the “South Street” group to chart supremacy. Future “Hustle” man Van McCoy produced and arranged “Don’t Make Me Over” for Philly’s Brenda and the Tabulations, and also hewed closely to Bacharach’s original template.

Cissy Houston more radically overhauled her niece Dionne’s second hit, “This Empty Place,” in 1970. The funky arrangement takes liberties with Bacharach’s original time signatures but gives the powerfully-voiced Houston the opportunity to get down-and-dirty with her vocal. Aretha Franklin, like Houston a powerhouse vocalist, knew when to cut loose and when to play it cool on her hit 1968 recording of “I Say a Little Prayer.” Even the piano that opens Aretha’s “Prayer” is slinky and sexy. Bacharach has always been unduly harsh on his bright arrangement of the song for Dionne Warwick, but Aretha’s recording more vividly brought out its longing and passion. Bobby Womack and Isaac Hayes are expectedly and excitingly torrid on “(They Long to Be) Close to You” and “I Just Don’t Know What to Do with Myself,” respectively. More restrained is Nina Simone’s detached, smoky reading of the sultry “The Look of Love” from 1967, one of the now-ubiquitous song’s first covers.

After the jump, we have plenty more for you, including the complete track listing with discography and order links!

Sweeter Than Wine: “This Magic Moment” Compiles Brill Building Nuggets

Today, 1619 Broadway in the heart of New York City’s theatre district doesn’t particularly stand out. Despite the building’s ornate façade, 1619 appears to be just another office building on a busy thoroughfare populated with every kind of attention-grabbing signage.  But this building – along with its neighbor to the north, 1650 Broadway – is as much a part of rock and roll history as Sun Studios or Abbey Road.  1650 is the one and only Brill Building, incubator to some of the finest songs in the American popular canon.  For a fertile period in the 1950s and 1960s, 1619 and 1650 (and to a lesser extent, 1697 Broadway, as well!) were lined with cubicles in which some of the busiest and best songwriters competed with one another to conquer the charts with their frequently youthful compositions.  The U.K.’s Jasmine label, drawing on public domain recordings made through 1962, has assembled a 2-CD, 64-song, non-chronologically sequenced overview of this remarkable period of creativity.  The appropriately-entitled This Magic Moment: The Sound of the Brill Building is available now.

In his liner notes, Groper Odson describes the “First Team” of the Brill Building as era of consisting of seven duos.  Noted next to their names are some of the songs you’ll hear on this new compilation:

• Jerry Leiber and Mike Stoller (“Charlie Brown,” “Stand by Me”)
• Gerry Goffin and Carole King (“Will You Love Me Tomorrow,” “The Locomotion,” “Chains”)
• Doc Pomus and Mort Shuman (“A Teenager in Love,” “(Marie’s the Name) His Latest Flame”)
• Neil Sedaka and Howard Greenfield (“Happy Birthday, Sweet Sixteen,” “Where the Boys Are”)
• Burt Bacharach and Hal David (“Only Love Can Break a Heart,” “It’s Love That Really Counts”)
• Barry Mann and Cynthia Weil (“Uptown,” “Bless You”)
• Jeff Barry and Ellie Greenwich (Greenwich’s “Our Love It Grows,” Barry’s “Teenage Sonata” and “Tell Laura I Love Her”)

And while all of those songwriters are represented on This Magic Moment – named for a Pomus and Shuman tune, of course – so are some names that might be more unfamiliar: Jack Keller, Mark Barkan, Tony Powers, Larry Kolber, Ben Raleigh, Hank Hunter, Bob Hilliard, Bernie Baum, Florence Kaye and Bill Giant among them.  But even if you don’t know those names, chances are you know many of their songs.  This Magic Moment deftly blends those famous songs that have endured over the course of seven decades with some tracks that were cut from the same cloth but didn’t necessarily have the same staying power.

After the jump: a closer look at This Magic Moment including the full track listing and order links!

Holiday Tunes Watch: Sony CMG Celebrates The Season with Bing, Buck, B.J., JB, Elvis and More

Occasionally the aisles of your local grocery or big-box store turn up releases you won’t find even in your local indie music store.  Such is the case with a recent batch of holiday-themed titles from Sony Commercial Music Group.  Just in time for Christmas ’13, CMG has unveiled a number of holiday compilations – and a handful of straight album reissues – for fans of classic pop (Bing Crosby, Patti Page), country (B.J. Thomas, Buck Owens, Roy Clark), rock-and-roll (Elvis Presley) and R&B (James Brown, and latter-day incarnations of The Drifters, The Platters, The Miracles and Harold Melvin and the Blue Notes).  As you’ll see, there are some buried treasures to be discovered here.

Bing Crosby Enterprises has released a number of projects in recent years featuring ultra-rare Crosby tracks from the late legend’s archives, and the new Christmas with Bing! is no exception.  This release follows other recent, unique seasonal collections like 2011’s Bing Crosby Christmas from Sonoma Entertainment and South Bay Music and Christmas Favorites from Somerset Entertainment. Produced by Robert S. Bader, the compilation offers 14 tracks including a few reprised from the indispensable Crosby Christmas Sessions (Collectors’ Choice Music, 2010).  Three duets are sprinkled in among vintage singles and rare radio performances, including Ella Fitzgerald on “A Marshmallow World,” Bing’s widow Kathryn Crosby on “Away in a Manger,” and David Bowie on, of course, “The Little Drummer Boy/Peace on Earth.”   Real Gone Music has recently reissued the late Patti Page’s 1955 Mercury release Christmas with Patti Page; now CMG has delivered the singer’s 1965 Columbia set of the same name which featured re-recordings of some of the earlier album’s music plus new holiday songs.  The Columbia Christmas with Patti Page includes such favorites as “Silver Bells,” “Santa Claus is Coming to Town,” “Christmas Bells” and “Pretty Snowflakes.”

The late Bakersfield, California country hero Buck Owens has been in the spotlight for much of 2013 thanks to Omnivore Recordings’ stellar release program and the release of his autobiography Buck ‘Em!.  CMG’s Christmas with Buck Owens, produced by Rob Santos and licensed directly from Owens’ estate, includes twelve originals from Owens and his Buckaroos, including “Santa Looked a Lot Like Daddy,” “Santa’s Gonna Come in a Stagecoach” and a still-relevant lament about “Christmas Shopping.”  Its eleven tracks sample Owens’ Capitol long-players Christmas with Buck Owens and His Buckaroos (1965) and Christmas Shopping (1968).  Buck’s Hee-Haw co-host and compatriot Roy Clark also gets a holiday overview with A Christmas Collection, produced by Doug Wygal.  Its fifteen tracks including such classics as “Let It Snow! Let It Snow! Let It Snow!,” “Home for the Holidays” and “White Christmas” have all been licensed from Grand Ole Opry member Clark.

Sony collects twelve Christmas tunes from Lee Greenwood (“God Bless the U.S.A.”) on Christmas, licensed from Cleopatra Records.  As well as “Tennessee Christmas” and “Lone Star Christmas,” Greenwood sings traditional classics from “The Little Drummer Boy” to “White Christmas.”  For years, B.J. Thomas has successfully walked the line between country and pop, and he showcases his still-strong voice on his enjoyable Christmas Live set.  This collection, licensed from Cleopatra and of mid-2000s vintage, features twelve live Christmas songs from the “Raindrops Keep Falling on My Head” man, including “The Christmas Song,” “Rudolph the Red-Nosed Reindeer” and “Tennessee Christmas.”  A longer version of the concert, with some non-holiday material, can be obtained on CD-R from Goldenlane Records as Hooked on Christmas or on DVD from Video Music as B.J. Thomas’ Christmas.

B.J. shared some of his repertoire, such as “Suspicious Minds” and “I Just Can’t Help Believin’,” with Elvis Presley.  Twelve of the King’s Christmas staples are represented on Merry Christmas…Love Elvis, produced by Jeff James and Lisa Grauso and remastered by Tom Ruff.  The compilation is drawn from Elvis’ 1957 and 1971 Christmas albums plus the 1966 single “If Every Day Was Like Christmas.  On the classic rock front, CMG also offers up a reissue of Ann and Nancy Wilson’s A Lovemongers’ Christmas.  Originally released in 1998 as The Lovemongers’ Here is Christmas, credited to the Wilsons’ Heart side project, it’s since been reissued under the official Heart name.  This edition contains the two bonus tracks that did not appear in 1998 but have been added to subsequent reissues, Patty Griffin’s “Mary” and Ann Wilson and Sue Ennis’ “Let’s Stay In.”

After the jump: we have the scoop on the soulful titles in this series, plus full track listings and pre-order links for all releases, plus discographical information where available!

Baby, It’s Burt: “The Warner Sound” and “The Atlantic Sound” Compile Rare Bacharach Tracks

In his 85th year, Burt Bacharach has kept a pace that would wear out many a younger man.  In addition to performing a number of concert engagements, the Oscar, Grammy and Gershwin Prize-winning composer has released a memoir, continued work on three musical theatre projects, co-written songs with Bernie Taupin and J.D. Souther, and even penned a melody for Japanese singer Ringo Sheena.  Though Bacharach keeps moving forward, numerous releases this year have looked back on his illustrious catalogue.  Universal issued The Art of the Songwriter in 6-CD and 2-CD iterations to coincide with the publication of his memoir, Real Gone Music rescued his three sublime “lost” 1974 productions for Dionne Warwick from obscurity, and Warner Music Japan reissued the near-entirety of Warwick’s Scepter and Warner Bros. tenures under the umbrella of Burt Bacharach 85th Birth Anniversary/Dionne Warwick Debut 50th Anniversary.  Two more titles have recently been added to that Japanese reissue series: The Atlantic Sound of Burt Bacharach and The Warner Sound of Burt Bacharach.  These 2-CD anthologies are both packed with rarities and familiar songs alike for a comprehensive overview of the Maestro’s recordings on the Warner family of labels.

The Warner Sound of Burt Bacharach is the more wide-ranging compilation of the two, drawing on recordings made not just for Warner Bros. Records but for Valiant, Festival, Elektra, Reprise, Scepter, and foreign labels like Italy’s CDG and Sweden’s Metronome.  This 2-CD set is arranged chronologically, with the first CD covering 1962 (Dionne Warwick’s “Don’t Make Me Over,” her only appearance on the set) to 1978 (Nicolette Larson’s “Mexican Divorce”), and the second taking in 1981 (Christopher Cross’ Oscar-winning chart-topper “Arthur’s Theme”) to 2004 (Tamia and Gerald Levert’s “Close to You”).

On the Elektra label, Love scored a hit with “My Little Red Book,” presented here in its mono single version.  The composer didn’t care for the band’s melodic liberties, but the Sunset Strip rockers’ version is today better known than the Manfred Mann original.  From the Reprise catalogue, you’ll hear the great arranger Marty Paich with a swinging instrumental version of “Promise Her Anything,” a genuine Bacharach and David rocker originally recorded by Tom Jones.  Trini Lopez’s groovy “Made in Paris” is also heard in its mono single version.  Morgana King is sultry on a Don Costa arrangement of “Walk On By.”  Buddy Greco delivers a hip “What the World Needs Now,” and Tiny Tim makes the same song his own.  Ella Fitzgerald puts her stamp on “I’ll Never Fall in Love Again,” produced like Tiny Tim’s “World” by Richard Perry.  Another production great, Wall of Sound architect Jack Nitzsche, brings a touch of class to the Paris Sisters’ dreamy “Long After Tonight is All Over.”

Numerous tracks on the first CD come from the worldwide Warner vaults.  The two stars of the original Italian production of Promises, Promises – Catherine Spaak and Johnny Dorelli – are heard in their beautiful, low-key performance of “I’ll Never Fall in Love Again” as released on the CDG label.  The Sweden Metronome label yields Svante Thuresson’s “This Guy’s In Love with You,” Siw Malmkvist’s “I Say a Little Prayer,” and one of the strangest songs in Bacharach and David’s entire catalogue, “Cross Town Bus” as sung by the Gals and Pals in English.  Australia’s Festival label – the original home of the Bee Gees – has been tapped for Noeleen Batley’s “Forgive Me (For Giving You Such a Bad Time)” and Jeff Phillips’ “Baby It’s You.”  The treasures on the Warner Bros. label proper are just as eclectic, from Liberace’s gentle “Raindrops Keep Falling on My Head” to The Watts 103rd Street Rhythm Band’s torrid “I Wake Up Crying.”  Harpers Bizarre’s “Me Japanese Boy (I Love You),” with an atmospheric Nick DeCaro arrangement, is another highlight.  The Everly Brothers truncated Bacharach’s melody to “Trains and Boats and Planes” but their harmony blend is at its peak in a 1967 recording.

The second disc of The Warner Sound emphasizes latter-day R&B as Bacharach branched out with a variety of lyricists.  Chaka Khan is heard on “Stronger Than Before” by Bacharach and Carole Bayer Sager;  Earth Wind and Fire on “Two Hearts” co-written with Philip Bailey and Maurice White; Tevin Campbell on “Don’t Say Goodbye Girl” co-written with Narada Michael Walden and Sally Jo Dakota; and Randy Crawford on “Tell It To Your Heart” from Bacharach and Tonio K.  Mari Ijima’s original version of “Is There Anybody Out There” – penned by Bacharach, John Bettis, James Ingram and Puff Johnson – is a welcome surprise; the song was recorded in 2012 by Dionne Warwick on her Now album.  Ingram is also heard with “Sing for the Children.”  On the 1993 track, co-producer/arranger Thom Bell channeled Bacharach’s classic flugelhorn sound to great effect.  Old favorites are also revisited and reinterpreted on this disc via Everything But the Girl’s “Alfie,” The Pretenders’ “The Windows of the World,” Linda Ronstadt’s “Anyone Who Had a Heart,” Anita Baker’s “The Look of Love,” guitarist Earl Klugh’s “Any Old Time of Day” and frequent Bacharach collaborator Elvis Costello’s “Please Stay.”  With big hits (“Arthur’s Theme”) alongside rarely-anthologized gems (the George Duke-produced “Let Me Be the One” performed by Marilyn Scott), there’s something for everybody here.

After the jump: check out The Atlantic Sound of Burt Bacharach!  Plus: track listings with discography and order links for both titles!

Saint Etienne Hosts “A Central Park Picnic” With Phil Spector, Burt Bacharach, Dion, The Drifters

For the inaugural release of his new Cherry Red imprint Croydon Municipal, Saint Etienne’s Bob Stanley has curated a collection of Songs for a Central Park Picnic.  Songwriter/producer Stanley’s label is an extension of his Croydon Municipal blog, in which he holds forth on subjects as diverse as Barbra Streisand and Barry Gibb’s Guilty, the evolution of Britpop, and the fortunes of HMV.  Like Stanley’s blog, his new CD compilation reflects his eclectic musical passions.

Saint Etienne Presents Songs for a Central Park Picnic, arriving July 29 in the U.K. and August 6 in the U.S.,  is a hip and breezy soundtrack to a gathering in a fantasy New York that may or may not have ever existed.   In Stanley’s New York, the future Candy Man Sammy Davis, Jr. cavorts with street-corner harmonists like Dion DiMucci, as Burt Bacharach, Teddy Randazzo and Barry Mann plunk away at upright pianos in the Brill Building and environs.  The young upstart Phil Spector takes in the sounds of the city as he prepares to head back west, where Henry Mancini is holding court in his silver screen lounge.  Bossa nova is wafting through the air, up from Brazil right into the city, and there’s a sense that anything’s possible.  In this alluring setting, exotic Peruvian vocalist Yma Sumac runs into the young Artie Garr (a.k.a. Art Garfunkel) and Vince Guaraldi captures the scene with his jazz piano.

With Stanley’s own liner notes serving as your guide, this 25-track collection takes in both familiar and rare tunes from the New York scene and beyond.  (A New York state of mind, if you will?)  From Bacharach’s pen comes The Rangoons’ otherworldly “Moon Guitar” and Gloria Lynne’s soulful response to Gene McDaniels, “You Don’t Have to Be a Tower of Strength.”  Hal David is co-credited for the instrumental “Moon Guitar,” while Bob Hilliard co-wrote “Tower.”   (1961’s “Moon Guitar” holds the distinction of being the first-ever production jointly credited to Bacharach and David.)  One of the key singers in Bacharach’s early years, Jerry Butler, offers his hit take on Henry Mancini and Johnny Mercer’s “Moon River,” while Mancini is heard leading his sexy, Latin-flecked “Something for Cat” from Breakfast at Tiffany’s.  Another future Hollywood film score icon, Lalo Schifrin, channels the bossa nova on his atmospheric “Boato (Bistro)” with both sinuous flute and pounding piano.

There’s plenty of uptown soul here, too, particularly appropriate considering the park’s location in Manhattan.  The Drifters reinvented British clarinetist Mr. Acker Bilk’s “Stranger on the Shore” as a Top 20 AC hit; Bilk’s original was the first No. 1 single by a British artist in the era of the Billboard Hot 100.  Southern soul man Arthur Alexander and New Jersey’s own Sammy Turner both navigated through swelling strings on their renditions of Barry Mann and Cynthia Weil’s “Where Have You Been” and Aaron Schroeder and Chuck Kaye’s “Raincoat in the River,” respectively.   “Raincoat” was produced by Phil Spector, clearly under the sway of his mentors Jerry Leiber and Mike Stoller.  Another New Jersey native, Connie Francis, rocks and rolls with the sassy “It’s Gonna Take Me Some Time.”  Francis and Gloria Lynne aren’t the only girl singers in Stanley’s Central Park; The Paris Sisters are unrequited in their affection on their 1962 ballad “Yes, I Love You.”  Another Spector production (and one he also wrote), “Yes, I Love You” is very much in the template of the Sisters’ “I Love How You Love Me.”  A third early production from the future Wall of Sound architect comes via Billy Storm’s dramatic 1961 Atlantic single “A Kiss from Your Lips.”  Spector would later create such triumphs as “River Deep-Mountain High” and “Then He Kissed Me” with Ellie Greenwich, who’s heard here as Ellie Gaye for the single “Cha-Cha Charming.”

After the jump: we have more details, including the complete track listing with discography and order link!

Jerry Lee Lewis, The Ronettes, Del Shannon, Louis Armstrong Feature On “The London American Label 1964”

1964 will forever be remembered on American shores as the year of Beatlemania, when those four moptops from Liverpool led the British Invasion to the top of the pop charts.  That tale has been chronicled many times, but one of the most recent releases from U.K.-based label Ace tells the story of the year’s American Invasion – via the American records imported to London on the London American label.  This latest volume in the long-running series (which now features an entry for each year between 1956 and 1964) may be the most exciting and most eclectic yet.  The London American Label: 1964 takes in an array of artists both familiar (Jerry Lee Lewis, Ben E. King, The Ronettes) and less-heralded (David Box, Ned Miller, Jimmy Holiday) and everybody in between in chronicling this exciting and musically diverse time.

In his liner notes, Tony Rounce sets the scene for the music, detailing the United Kingdom’s seismic shifts that year in politics, sports, architecture and culture.  The London American label issued 111 singles in 1964, and 28 sides appear on the new compilation.  These were drawn from U.S. labels including Philles, Atlantic, Hi, Dot, Stax and Kapp.  By 1964, Pye and EMI both had their own dedicated labels for releasing American repertoire in the U.K., and by mid-year, Atlantic and Dot would cease supplying singles for release on London, too.  Cadence also departed the London roster by the end of the year.  In many respects, this crucial volume in the London American Label series points the way towards the end of an era.  1965 would be the final year that London’s release tally would total a three-digit number.

What will you find on this transatlantic showcase?  Hit the jump for more details plus a full track listing with discography and order link!

Songwriters Barry Mann and Cynthia Weil Are “Born to Be Together” on New Ace CD

Born to Be Together: could a more apropos title have been devised for a collection of the songs of Barry Mann and Cynthia Weil?  Married since 1961, the team both defines and defies the phrase “unsung heroes.”  Without hit records as recording artists, Mann and Weil have never had the name recognition of their Brill Building-era compatriots like Carole King or Neil Sedaka, but these Grammy Award-winning Rock and Roll Hall of Famers are hardly unsung.  If all they’d ever written was the most played song of the twentieth century, The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’,” they would have gone down in the history books.  With over 1,000 songs reportedly under their collective belt and some 100 hits (not a bad track record, eh?) charted, Barry Mann and Cynthia Weil are simply international treasures.  Ace Records has recognized this with Born to Be Together, the label’s second volume of songs from their storied catalogue following 2009’s Glitter and Gold.

A 2004 theatrical revue starring the couple, They Wrote That?, made reference to one of the most frequent exclamations regarding their body of work.  You might find yourself saying that yourself glancing the track listing of this 25-song compendium: “You’ve Lost That Lovin’ Feelin’,”  “Saturday Night at the Movies,” “We’ve Gotta Get Out of This Place,” “Make Your Own Kind of Music.”  But those hits are just the tip of the iceberg here.

Compilation producer Mick Patrick has expertly woven those familiar tracks (all in their most famous versions) into a tapestry that also takes in lesser-known versions of hit songs and true rarities.  The disc also takes in compositions co-written by Mann and/or Weil with other luminaries, among them Gerry Goffin, Russ Titelman, Jerry Leiber and Mike Stoller, Ernie Freeman, and of course, Phil Spector.  The specter of Spector lingers on both the majestic songs he produced (“Lovin’ Feelin’,” The Crystals’ “Uptown,” The Ronettes’ darkly seductive “Born to Be Together”) and those he co-wrote as recorded by others (Len Barry’s Philly treatment of “You Baby”).

After the jump: much more on Mann and Weil, including a full track listing and order link!

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!

In Case You Missed It: Join the (Music) Club!

If you’re a British compilation hunter or fan of imports, it’s tough to go wrong with Demon Music Group’s Music Club Deluxe label. The relatively inexpensive double-disc sets the label turns out might look simple or quickly assembled, but they’re in fact often packed with a few rarities for your buck.

In recent weeks, Music Club Deluxe has issued a half-dozen compilations, all for ’80s pop/rock artists. You likely know their hits, but there are some great album cuts, B-sides and remixes to go around for each. Hit the jump and we’ll run through them all.

Cash, Perkins, Lewis and…The Chipmunks? Ace Revisits 1958 On “The London American Label”

After a terrifically eclectic volume dedicated to the hits, misses and everything in between of 1963, Ace’s London American Label turns the clock back to the early days of rock and roll via the pioneering British imprint.  The London American Label: 1958, the sixth volume of the series, similarly offers something for everyone.  Unlike so many other British labels mining this period thanks to public domain law, Ace licenses each and every track from the current copyright owners and remasters them for optimum sound.  These classics cover a wide swath of genres, reflecting a time in American music history when rock and roll was just taking a hold: rockabilly, country, traditional vocal pop, and doo wop, to name a few.  (To read more on London American, you’re just a hop, skip and a click away!)

Every volume of The London American Label offers a number of recognizable hits, and 1958 is no exception.  You’ll find Eddie Cochran’s sizzling “Summertime Blues” and Bobby Darin’s “Splish Splash.”  Three quarters of The Million Dollar Quartet make an appearance:  Johnny Cash (“Guess Things Happen This Way”), Jerry Lee Lewis (“Break-Up”) and Carl Perkins (“Lend Me Your Comb”).  In a more traditional country vein is Jimmy Starr’s version of Conway Twitty’s standard “It’s Only Make Believe.”  Befitting any compilation of the golden era of rock and roll, Chuck Berry and Little Richard both make a riotous noise with “Sweet Little Rock and roll” and “Ooh! My Soul,” respectively.  Before reinventing himself as a tuxedoed entertainer or an earnest folk singer, Bobby Darin established his rock credentials, and he’s heard on his early calling card, “Splish Splash.”

Traditional pop is also represented.  Jane Morgan is heard with “The Day The Rains Came.”  The Mills Brothers were a clear influence on the sound of early doo-wop; they returned the favor with a cover of The Silhouettes’ “Get a Job” originally released on the Dot label.  The early Drifters line-up tackles “Moonlight Bay,” a standard that’s likely familiar to any longtime Looney Tunes fans!  Clyde McPhatter of that group appears solo on “Come What May.” 

Looking for humor?  The irreverent Coasters deliver with Jerry Leiber and Mike Stoller’s “The Shadow Knows.”  And the disc concludes with Ross Badgasarian, Sr. a.k.a. David Seville, giving voice to Alvin, Simon and Theodore with the original “The Chipmunk Song.”  (Perhaps Ace is the label up to the task of delivering a comprehensive David Seville and the Chipmunks anthology?)

The London American Label: 1958 hits stores in the U.K. on June 27 and in America one week later.  Hit the jump for a pre-order link plus the full, diverse track listing and discographical information!