(Rollercoaster Records) 4 tracks - triangle centre - mastered at CTS, Wembley with ´B.J. at the control´ written in dead wax - Wash Machine Boogie by the Echo Valley Boys was the Island Record Company´s first release in April 1957. Like many of the more obscure 50´s recordings now regarded as rockabilly classics by boppers and collectors alike the release has been as extensively bootlegged as it has been ´covered´ by present-day rockabilly bands. Little is known of the Echo Valley Boys, but Bill Browning appears to have been more than just the lead vocalist, having arranged, produced and written most of the band´s material. Bill was born on May 16th 1931 in Wayne County, West Virginia, where he became interested in music at the age of fourteen. At sixteen he formed his first band, the Kanawha Valley Boys, and broadcast regularly over WTIP in Charleston, West Virginia until 1950 when he and members of his band were drafted into the services. In August 1955 Bill moved to Cleveland, Ohio, and formed the Echo Valley Boys, who were soon appearing every Saturday night on the Circle Theatre Jamboree. In the spring of 1957 Bill submitted some of his material to Frank J. Videmsek, president of the Island Record Company, and his first recording - Wash machine boogie and Ramblin´ man was soon on the presses. This was followed by Born with the blues, Breaking hearts, Sinful woman and Hula rock. Although Bill remained actively involved in songwriting and recording, national success eluded him and he died in January 1978, a victim of cancer.
1-CD-Album Digipak (4-seitig) mit 72-seitigem Booklet. 30 Einzeltitel, Spieldauer ca. 66:44 Minuten. • Eine fast unglaubliche Rückschau auf die Rock´n´Roll Aufnahmen der eigentlich für Popmusik berühmten Plattenfirma Warner Brothers nebst seinem Sub-Label Reprise! • Mit Rock´n´Roll und Rockabilly-Klassikern von Johnny Carroll, Troyce Key, Bob Luman, Bill Haley, Sammy Masters, The Everly Brothers und vielen anderen. • Dazu eine rare Aufnahme aus dem Film ´Jamboree´ von Charlie Gracie, damals nur auf einer Warner Bros. Promo Scheibe erschienen! • Viele Titel erstmals auf CD! • Biographien von Bill Dahl, mit allen uns bekannten Informationen zur Musik, darunter auch kürzlich entdeckte sowie viele seltene Fotos und Illustrationen! Warner Brothers Records wurden im März 1958 als Tochter der berühmten Film-Firma Warner Brothers im Film-Mecca Hollywood gegründet und war anfänglich dazu gedacht, hauseigene Film-Soundtracks zu veröffentlichen. Ganz nebenbei versuchte die Firma jedoch auch auf dem Rock´n´Roll-Sektor mitzumischen. Neben unzähligen Pop LPs wurden kleine, aber feine Rockabilly- und Rock´n´Roll-Singles veröffentlicht, die zwar, bis auf wenige Ausnahmen, keine Chart-Erfolge wurden, aber heute zu den Klassikern des Genres zählen. Geschäftige A&R-Leute von Warner kauften auch Aufnahmen kleiner kalifornischer Labels ein, um sie als Neuheit auf Warner Brothers zu präsentieren. Als diese Vorgehensweise zum finanziellen Desaster zu werden drohte, begann man große Namen des Rock´n´Roll zu verpflichten: Johnny Carroll war der erste, Bob Luman, Bill Haley & His Comets und The Everly Brothers sollten folgen. Diese Kopplung zeigt die Rock´n´Roll Seite eines der größten auf Pop ausgerichteten Major Labels der USA jener Jahre. Eine randvolle Zusammenstellung, mit Bedacht ausgewählte Titel, versehen mit allen verfügbaren Informationen zu den jeweiligen Aufnahmen. Darunter auch kürzlich entdeckte Hintergrundinformationen, wer sich beispielsweise hinter dem Pseudonym Tyrone A´Saurus & His Cro-Magnons verbirgt; mal ganz abgesehen von den Begleittexten und den Fotos! Wie wär´s mit Gitarren-Instrumentals von John Buck & His Blazers, Don Ralke oder Johnny Zorro? Dabei ist auch Johnny Sardo, der Bruder des bekannteren Sängers Frankie Sardo. Oder Bill Haley mit seiner Version des Carl Perkins-Klassikers ´Blue Suede Shoes´, sowie zwei rare Halloween-Monster-Rock´n´Roll Aufnahmen von Spike Jones und Tyrone A´Saurus – unbedingt hörenswert! Nachdem Warner von Frank Sinatra die Firma Reprise gekauft hatte, erschien dort ein völlig unbekannter Künstler namens Shelly Dane. Phantastische Rock´n´Roll Stories aus der Geschichte von Warner Brothers und dieser unglaublichen Musik, liebevoll restauriert, dekoriert und verpackt – ganz so, wie wir es von Bear Family erwarten. Und jetzt: That´ll Flat Git It!
Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music, including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney´s kaleidoscopic firsthand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer. As witness to and participant in over half a century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a Hayloft Jamboree hillbilly singer in the mid-1950s, Rooney managed Cambridge´s Club 47, a catalyst of the ´60s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director, where he had a front-row seat to Dylan ´´going electric´´. In the 1970s, Rooney´s odyssey continued in Nashville, where he began engineering and producing records. His work helped alternative country music gain a foothold in Music City and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his career, he was a key link connecting Nashville to Ireland´s folk music scene. Whether he´s writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the Long Run: A Musical Odyssey is his singular chronicle from the heart of Americana. 1. Language: English. Narrator: Jim Rooney. Audio sample: http://samples.audible.de/bk/blak/008390de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
(Rollercoaster) 4 tracks - small center - Sherry Davis met Gene Autry when she was taken to visit his house as a child, and from that day she wanted to be a singer. Success in Amateur Nights and Talent Shows led Sherry to singing on the Cowtown Round-Up where she met Smokey Montgomery who helped her join Texo Ted Gouldy´s Hired Hands about October 1949. The Hired Hands were effectively the Light Crust Doughboys in disguise and had a daily show on Radio WBAP, Fort Worth. About a year later Sherry switched to WBAP-TV´s Bewley Barn Dance which she co-hosted with Darrell Glenn, who was replaced by Pat Boone when Glenn went on the road to promote his big hit ´Crying In The Chapel´. Gene Autry encouraged Sherry to move to the West Coast about 1954. She recorded advertising jingles for American Music and played on the Foreman Phillips Show and Town Hall Party before becoming featured singer on the nationally syndicated Lawrence Welk TV Show. The American Music connection led to her disc debut ´God Speaks´/´Did You Stop To Pray This Morning?´ (Crest 1005). Sherry returned to Dallas in 1955 and was soon a regular on the Big D Jamboree playing alongside the biggest names in music. She also hosted KRLD-TV´s Opus ´56 show. In October 1956 Sherry became one of the very few artists ever to support a tour by RCA artist Elvis Presley; they played to over 60,000 people in 4 days. The following summer the Big D´s Ed McLemore and Johnny Hicks set up a recording session, financed by Ray Winkler (Radio KZIP, Amarillo), which took place in Norman Petty´s studio overnight July 25-26, 1957. Petty hired the musicians and it wasn´t until later that Sherry realised she´d been backed by Buddy Holly (lead guitar) and JI Allison (drums) who at the time were still a few weeks away from stardom with the Crickets. The other musicians were George Atwood on bass, Vi Petty on organ, the Picks (Bill & John Pickering and Bob Lapham) backing vocals and Jack Vaughan or Niki Sullivan on rhythm guitar. ´´Broken Promises´´ and ´´Humble Heart´´ made up the debut single on Winkler´s Fashion label (1001) in late August. Mitch Miller wanted to buy the masters for Columbia but the deal fell through when McLemore refused to relinquish the publishing rights; a devastating blow for Sherry as Miller would have been the perfect person to promote her career. The two songs have never been reissued until now and the original single is one of the highest priced discs to emerge from Texas. The two superb and previously unissued rockers on side one of this EP are a mystery. Sherry recognises her voice but cannot recall recording them. They were probably cut in Dallas about 1957. The classy backings may well be the Big D Jamboree houseband. Whatever the origins the two songs are among the best femme rockers to come out of Texas. This is just a little bit of Sherry Davis - further material by Sherry will appear on a forthcoming Rollercoaster CD, Highway 84. Sherry later worked the Holiday Inn circuit and then spent almost a decade as a Las Vegas headliner singing for lounge-pop genius Esquivel before retiring from music in 1971. It´s a pity we had to wait so long for Sherry´s first release in the UK, but maybe it´s not too late for her career to take off on this side of the Atlantic ....(John Ingman)