Eine thematische Zusammenstellung (Compilation) als CD-Album mit sehr raren Rockabilly und Rock and Roll Titeln aus den 50er bis frühen 60er Jahren. Die CD-Album Serie Buffalo Bop von Dee Jay Records ist eine hervorragende Ergänzung zu der Bear Family Records Rockabilly und Rock and Roll Album-Serie That´ll Flat Git It . Jeder dieser Buffalo Bop CDs beinhaltet ein 12-20 seitiges Booklet mit seltenen Label-Fotos und Künstler-Fotos. Alle Aufnahmen wurden sehr aufwendig im eigenen Dee Jay Records Studio in Hamburg von den original Rockabilly und Rock and Roll Singles überspielt und ohne Soundverluste nachbearbeitet. Auf den CDs von Buffalo Bop finden Sie sehr seltene Hits, die auf den original Vinyl-Schallplatten ein Vermögen kosten. Die CD-Album Serie ist eine logische Weiterführung der Bison Bop Vinyl-LP Reihe. Der Name Bison Bop durfte nicht mehr verwendet werden und wurde in Namen Buffalo Bop geändert. Die CD-Serie Buffalo Bop wurde 1993 von Dee Jay Records in das Leben gerufen.
(All Round Trading) 22 Tracks
(Golden Options) 20 tracks
(2014/Cleopatra) 13 tracks (44:55) album cover artwork by Hatch Show Print - Nashville. An extraordinary new voice in country music,18-year-old Mary Sarah unites modern and traditional country styles with this stunning album. Bridges features an inspiring list of country music stars duetting with Mary Sarah incl. Dolly Parton singing her superb hit Jolene, Willie Nelson crooning the all-time classic Crazy, the late Ray Price counting Heartaches By The Number, Merle Haggard trading vocals on The Fightin Side Of Me and a lot more. This exceptional young lady has already made her debut at the Grand Ole Opry and is set to join The Oak Ridge Boys for a series of live shows!
Taschenbuch 461 pages Books Americana Inc.; 4th edition (Sep 1991) Englisch INTRODUCTION There is nothing ´´official´´ about this or any other price guide. It, like other books on collectibles reflects the opinions of the author, based upon lengthy experience buying selling and trading records, consulting countless auction lists, sales lists, record publications, discographies, record company promotional literature, and collectors´ want lists. Also important are the contributions of those who have supplied information, opinions on pricing, and photographs. Undoubtedly, many errors and omissions will be noted by knowledgeable collectors; it is hoped that these will be brought to my attention by writing to: L.R. DOCKS, P.O. Box 691035, San Antonio, Texas 78269. Here, in a single volume, are listed thousands of desirable records in the most widely collected categories: Jazz, Dance Bands, Celebrity, Blues, Rhythm and Blues, Country and Western, Hillbilly, Rockabilly, and Rock and Roll. Included are 78s, 45s, EPs, and LPs. Emphasis is given to categories heretofore neglected and/or inadequately treated, such as early jazz, blues and country 78s. As in previous editions, the majority of records listed are unfamiliar to non-collectors. Indeed, many are so obscure as to be unfamiliar even to sophisticated collectors. Quick now: Who were Dubin´s Dandies? Very few of the records listed are top-selling hits. This book is intended to be a guide to scarce, sought-after, and otherwise desirable discs that ought to be recognized as collectible. It is not meant to afford readers a ´´nostalgia trip,´´ by listing thousands of familiar old favorites, complete with titles. (Those seeking documentation and information about hit, or ´´charted´´ records should consult other references, such as those by Joel Whitburn, listed in the Bibliography.) Those treasured (when was the first time they were dug out of the cellar and played?) records by Bing Crosby, Al Jolson, Glenn Miller, et al., even if they are indeed ´´originals´´ are probably not discs that are saleable to a knowledgeable collector, and certainly not at more than a nominal sum. Common sense ought to suggest that records which sold in the largest quantities remain relatively common and inexpensive today. But common sense sometimes seems uncommon: ´´I have an original ´´White Christmas´´ by Bing Crosby; what will you give me for it?´´ Oh, well! I don´t really expect to get many calls offering me a store stock of 8000 series Okeh records. Readers of previous editions will note, however, the inclusion this time of many more relatively common and inexpensive records, i.e. records valued at two to five dollars, by the more familiar artists, and on commonly found labels such as red Columbia. They may well ask, ´´Has Docks sold out?´´ The answer is a resounding ´´no.´´
(1991/MCA) 14 tracks - liner notes by Colin Escott LINER NOTES On the surface, there was little about Buddy Holly that see-med to qualify him for musical stardom. His family lived in Lub-bock, Texas, on the edge of the de-sert—hundreds of miles from the nearest recording studio. He had a poor complexion, bad teeth and glasses, and, when he sang, it was in a curiously high-pitched voice. But Buddy Holly made a virtue out of being different to the ex-tent that now—when people look back on the ´50s—his one of the na-mes and faces that leaps instantly to mind. Charles Hardin ´Buddy´ Hol-ley (the ´e´ was dropped by the time he signed his first record ap-peared) was born in Lubbock, on September 7, 1936. He grew up li-stening to country music, and pik-king out chords on a cheap guitar. Thousands of kids across the South and Southwest were doing the same thing—but Buddy had two attributes most of them lacked talent and ambition. He and his friend Bob Montgomery started performing over KDAV in Lub-bock during the early ´50s as `Buddy and Bob´. Incidentally, Montgomery shared Buddy´s am-bition, and stayed in the music bu-siness. Until recently, he was the head of CBS Records in Nash-ville. It was Elvis Presley who tur-ned Buddy´s head around. Elvis played Lubbock twice during 1955, and Buddy was in the au-dience. In the wake of those shows, Buddy started integrating more R&B into his style, and checking out the black radio sta-tions. By the time he made his first set of solo demos, he was sin-ging Joe Turner, Bo Diddley and Little Richard songs, and making some tentative efforts at writing his own. In late 1955, Buddy impres-sed some country stars who swung through town on a package show, and was offered a contract by Decca Records in Nashville early in 1956. Decca, like every other record company, was scurrying around trying to find their answer to Elvis Presley. Buddy made some fine records for them—inclu-ding the original ´version of ´´That´ll Be The Day´´ — but not-hing clicked, and he was dropped at the expiration of his one-year term. Down, but not out, Buddy and his group started working at Norman Petty´s studio in Clovis, New Mexico. It was there, away from Nashville´s assembly-line at-mosphere, that Buddy Holly dis-covered what was special about his music. He used his own band instead of Nashville sidemen, and Petty encouraged him to exploit the quirkiness of his natural voice. When they re-cut ´´That´ll Be The Day´´, Buddy Holly announ-ced his arrival as an innovator. Petty landed a contract for Buddy and the Crickets with Coral Re-cords, and a parallel deal with Brunswick for Buddy as a solo artist. Ironically, both companies were New York subsidiaries of Decca, whose Nashville division had refused to re-new Buddy´s contract. The first record covered by the deal, ´´That´ll Be The Day´´, was a number one smash. Like Fats Domino, Elvis Presley and other true origina-tors, Budd) Holly´s records were recognisable from the first few bars. He was wholly in control of his music. He wrote much of it, played guitar, directed the group and sang. In Norman Petty he found a producer who was willing to let him experiment, and one who didn´t try to fit him into a pre-conceived mould. Slightly less than two years separated the night that Buddy re-cut ´´That´ll Be The Day´´, and the night he perished in a frozen Iowa field. He packed a lifetime´s accomplishments into those two years; he toured, played televi-sion dates, went overseas, mar-ried, and recorded constantly. He brought an almost unparalleled diversity to his recordings: go-for-broke rockers like ´´Oh Boy!´´ and ´´Rave On´´, ballads that broke new ground like ´´Heartbeat´´ and ´´Listen To Me´´; and simply great pop songs like ´´Maybe Baby´´ and ´´Peggy Sue´´. After his marriage, Buddy split from the Crickets and moved to New York. Sensing the demise of primitive three-chord rock ´n´ roll, he started exploring new di-rections, such as recording with strings. Perhaps Buddy´s flair for experimentation could have su-stained his career. Since his ear-liest days in Lubbock, he had al-ways kept his ears open to diffe-rent styles of music. New York, with the wide range of musics to be heard everywhere from recor-ding studios to open windows, would have provided fodder for his fertile imagination. All those questions remain unanswerable because of the crash of a light private plane car-rying Buddy, the Big Bopper and Ritchie Valens. At the time, Buddy hadn´t seen a major hit in
LP auf SUNDAZED RECORDS von BLUE CHEER - Vincebus Erupum (Mono Edition) 1968 Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the seminal San Francisco power trio was churning out ballsy blues-rock anthems whose fuzz-heavy, adrenaline-charged intensity helped to alter the course of contemporary music. Vincebus Eruptum, Blue Cheer´s landmark 1968 debut, is widely regarded as Ground Zero of the heavy metal explosion. The album, featuring the classic Blue Cheer lineup of guitarist Leigh Stephens, bassist/vocalist Dickie Peterson and drummer Paul Whaley, includes the trio´s mind-melting reading of Eddie Cochran´s ´Summertime Blues,´ which became a Top 20 single, along with such raw, overdriven originals as ´Doctor Please´ and ´Second Time Around´ and distinctive reworkings of the blues standards ´Rock Me Baby´ and ´Parchment Farm.´ Long out of print on vinyl, with original copies trading for steep collectors´ prices. Sundazed´s vinyl MONO edition is sourced from the original Philips reels, complete with the unique original cover design. Also available on compact disc! Esteemed East Coast label Sundazed goes back to mono on this reissue of a landmark 1968 release by the screeching San Francisco hairies. The result is fuzzier and more primal than ever. --Mojo magazine ´...The new Sundazed reissue restores the album to its glorious, bulldozer mono mix...´. - Blurt magazine
Impressum 2 Intro • Just a few words Leserbriefe 6-7 Titelstory „The Cramps´´ 8-9 Bandvorstellungen 10-19 - Kentucky Boys - Spo-Dee-O-Dee - Mystery Train - Housewreckers - Chotalls -Phil Edwards- Lone Star Trio - Racketeers - Sunsets - Redneck - Hobnobbers - Black Raven - Satellites - Blasters Isi - das Leben eines Panhandle Alks 20 Rockabilly Mafia - die jungen Jahre 21 High Noon - Interview 22 Plattenkritiken 24-39 DYNAMITE!-Poster: „Curtis Gordon´´ 25-26 Snakebites (Hemsby-Weekender) 40-42 Trading Cards - Watt´n datt´n 43 Auto-und Technik-Museum Sinsheim 44 Brian Setzer 1995 44 A place to go... The Rockin´ Landsmann 45 Neues von A-Z 46-47 Klatsch, Tratsch & Neuigkeiten 48-49 Termine 50-53 Quo Vadis Rock´n´Roll?, Teddyboy Weekender (GB) 54 PS: Wir haben in dieser Ausgabe vier Seiten mehr Inhalt als in der letzten. Allerdings müssen wir (wegen dem Porto) Abstriche beim Papiergewicht machen, deshalb wieder das leichtere Papier. Auf der Single haben wir dieses Mal zwei deutsche Bands: Die Kentucky Boys mit einem neuen Song sowie Spo-Dee-O-Dee mit zwei in Schweden eingespielten Titeln. Viel Spaß damit !