(Hump Head) 34 Tracks - Diese Essential Collection vereint die besten ihrer Universal-Aufnahmen. - Allison Moorer hat mit ihrer Debüt-Aufnahme des Oscar-Nominierten A Soft Place To Fall aus dem Film The Horse Whisperer einen großen Eindruck hinterlassen. Es war eine bluesige, traditionell klingende Country-Ballade, die sich 1998 von den Pop-Rock Country-Crossovers von Faith Hill und Shania Twain abhebt. Allisons Aufstieg zum Country-Star schien unvermeidlich, aber trotz einer Zugabe, in der sie ihren Soft Place To Fall bei den Oscars aufführte, kam der kommerzielle Erfolg nie wirklich zustande. Stattdessen ist sie ein Favorit der Kritiker geblieben, denn sie hat sich immer wieder einen großen Kult aufgebaut und neun ganz unterschiedliche Alben veröffentlicht. (AC)
(2003/EMI) 12 tracks.
(Acrobat) 75 tracks. Unter der Leitung des Gitarristen Johnny Moore und mit verschiedenen Sängern, darunter der erfolgreichste und berühmteste Pianist Charles Brown, erlebten sie in dem Jahrzehnt, das die letzten Jahre der 40er und die erste Hälfte der 50er Jahre umfasste, eine Reihe von R&B-Hits. Sie waren insofern ungewöhnlich, als Moore sich weigerte, einen exklusiven Plattenvertrag zu unterzeichnen, so dass sie für eine Vielzahl von Labels aufnahmen. Dieses hochwertige 74-Spur-3-CD-Set umfasst ausgewählte A- und B-Seiten.
(1993/Polygram-TV UK) 30 Tracks (76:14) Restbestand einer mittlerweile seltenen, englischen Veröffentlichung mit Top-Sound. Digital Sound mastering von Gary Moore - Polygram, London.
(1990/Rhino) At Sun Records on 706 Union Avenue in Memphis, wild rockabilly and polite country were part of the same continuum, as surely as Saturday nights rolled into Sunday mornings. In either category, genius producer Sam Phillips invariably sought out un-encumbered, passionate, plainly stated perform-ances. He wanted a mood to establish itself the second a song began and then intensify and ignite. Phillips´ Nashville contemporaries were adding scads of strings and busloads of back-up singers to sweeten songs for the uptown crowd, but Phillips sensed that frankness was gaining an edge over forced sophistication. Phillips arrived at this method partly by ingenuity and partly by necessity—after all, fewer musicians on a session meant fewer people to pay. But from the start, Phillips was also searching for something novel. Phillips, an Alabaman, moved to Memphis in 1944 for a disk jockey spot at WREC. In 1949 and 1950, he put together a makeshift recording studio in what was previously a Union Avenue radiator shop. In his first step toward greatness, Phillips began record-ing local performers and leasing the witty, angular sides to labels like Chess and Modern. By the end of 1951, thanks to the success of Jackie Brenston´s rock ´n´ roll forerunner ´Rocket 887 Phillips was able to quit WREC and concentrate on building his own label, Sun Records. With vital blues and R&B performers like Rufus Thomas, Howlin´ Wolf, and Junior Parker in his stable, Phillips over-saw the finest electric blues from outside Chicago being made at the time. Phillips´ breakthrough approach, unquenched emotion drenched in echo, resulted in a tidal wave of raw, early recordings that still startle. Yet Phillips´ ambitions ranged beyond what he heard in the blues, and the natural next step for him was to find the points of intersection between the blues and country and western. Many of the lasting performers on Sun Country Volume One are singer/guitarists without full-blown bands. Most of the recordings are based around voice and acoustic six-string, and in some cases that´s the whole arrangement: Howard Seratt´s ´Make Room In The Lifeboat For Me,´ country gospel worthy of the dread-drenched Louvin Brothers, features only the haunted singer´s guitar and harmonica. Even on uptempo tunes, Phillips saw to it that drums were used sparingly, the idea was to flip convention and let the song drive the band. Because there were fewer players to shift around, Phillips and his flock could experiment with different treatments of the same tune. Radically dissimilar takes of Warren Smith´s ´So Long I´m Gone´ serve as bookends to Sun Country Volume One and go a long way toward telling the grand story of how country spawned rockabilly. The words are the same in both Charlie Feathers but the attitudes couldn´t be farther apart. Smith is best known as a post-Presley rocker (his raucous calling cards are ´Rock And Roll Ruby´ and the tasteless ´Ubangi Stomp´), but the country take of ´So Long I´m Gone´ that kicks off this set fore-shadows his move into straight C&W after he left Sun. On this slow version, Smith collapses into regret, missing the occasional guitar strum, mortified that he has to leave his philandering lover. The fast rockabilly variation that slams this record shut is triumphant, the sound of a hardened man deter-mined to beat adversity. He´s out the door, he´s bound for glory. The fast ´So Long I´m Gone´ sounds like freedom. Throughout Sun Country Volume One are land-marks of Sam Phillips´ move from invigorating standard country forms to exploring a new type of country he helped invent. A key part of the journey takes place during ´My Rind Of Carryin´ On:´ recorded by future insurance salesman Doug Poindexter and the Starlite Wranglers. The Wranglers were legend-ary Elvis accomplices Scotty Moore on guitar and Bill Black on bass, the duo had already begun rehearsing with Presley when this was recorded in May 1954. Poindexter isn´t much of a singer (his delivery makes it seem as if he was unaware of the lyrics´ risque innuendoes), but we can hear the seeds of Moore´s imminent breakthrough with Presley in his brief solo bursts. It´s history, to be sure, but it´s also ferocious in its own right. Sun Country Volume One is full of these magical moments, none of which have appeared on any previous Rhino collection. (Completists may wish to discover Bear Family´s massive The Sun Country Years 11-LP box set, which tells the whole story.) Sun´s big names are
(2017/LMG) 11 tracks - digipac - Tracy Lawrence´s Good Ole Days celebrates the country legend´s indelible mark on country traditionalism with an album of 11 duets pairing a selection of his most iconic hits with some of country and rock´s contemporary superstars and newcomers. This collaborative collection includes guest appearances by Tim McGraw, Jason Aldean, Big & Rich, Luke Bryan, Luke Combs, Easton Corbin, Dustin Lynch, Tim McGraw, Justin Moore, Kellie Pickler and Chris Young. 3 Doors Down leader Brad Arnold makes his country music debut on the title track ´Good Ole Days,´ which is the second of the two original songs. Whether it is celebrating his iconic hits with fresh new tracks or writing material for his next studio record, Lawrence knows if he stopped today he´d already have cemented his place in the pantheon of country-music greats. ´To realize that I´m older now and being looked at by younger kids in the same light as I looked at guys like Strait and Haggard, it´s very flattering,´ he notes. ´To know that I´ve made music that´s had that kind of impact on people, well, it´s pretty cool.´
(Ace) 12 tracks - Re-issue of the original 1964 ´Dot´ LP album Mastered by Bob Jones The late, great Ivory Joe Hunter was born among the pine woods of Kirbyville, East Texas. He was born into a large family of nine brothers and four sisters during either 1911 or 1914 depending on which source of reference you consult. His father, Dave Hunter, played guitar and his mother sang spirituals. All the family were encouraged to pursue musical activates and before long young Joe was pounding the keys of the family piano. His brother. Lee Hunter was a very talented pianist in the popular barrelhouse style and he later recorded for Bill Quinn´s Goldstar label In 1948. Ivory Joe was first captured on disc in 1933 when a field researcher for the Library of Congress. John Lomax, set up recording sessions in VVeirgate. Texas and recorded him performing ´Stack 0 Lee´. Graduating from Lincoln High in Port Arthur. Hunter formed his first band and began to ay for dances in his home district. As his popularity grew he prayed further afield In larger towns and cities, Including Houston. He also hosted his own radio show on K.F.D.M. In Beaumont. Hunter´s early influences were Duke Ellington and Fats Waller, both of whom he saw in the movies. He recalled ´1 learned a lot from two great men In the music profession; I couldn´t help being influenced by those wonderful Duke Ellington arrangements and watching the showmanship of Fats Wailer. He taught me things about putting over a song that I´ll never forget´. Hunter´s acute business sense showed when he moved to California in 1942, where he set up his own label. Ivory. to promote his own recordings. His first release ´Blues At Sunrise´ was accompanied by Johnny Moore´s Blazers and proved to be a big regional hit. Hunter was unable to cope with the demand, so he sold the master to Leon Rene of Exclusive. Undaunted by his first endeavour he went into partnership with Don Ham,. a DJ at Radio K .E.R . in Berkeley and formed a new company. Pacific Records. The new label had better distribution and important sides for this label wore ´Blues At Midnight´. ´Jump.´ At The Dewdrop´ and ´Foolish Pride´. These Pacific masters were eventually purchased by Four-Star. Hunter soon joined Sid Nathan´s King label, where he spent throe successful years, before switching to the powerful MGM label In 1949, where he produced his biggest hit to date ´I Almost Lost My Mind´. Hunter became one of the highest paid enterers on the rhythm and blues circuit. travelling from coast to coast on a new 38 seater bus. By 1954 the Atlantic label was fast becoming the new giant In rhythm & blues and was in the process of signing new acts to its already impressive roster. Ivory Joe, Hunter was among the new signings, and after a few lean years with MGM he soon regained popularity with his Atlantic recordings of ´It May Sound Silly. and ´Since I Met You Baby´. The latter won him a gold record, which was presented to him on the Ed Sullivan show - Hunter had become a top rock ´n roll star. In late 1958 Hunter left Atlantic and signed with Randy Wood´s Dot label where he re-recorded some of his earlier hits. including ´Did You Mean It´. ´Pretty Mama Blues´ and ´Guess Who´ and he hit the hot hundred in March 1959 with a fabulous rendition of Bill Anderson´s country weeper. ´City Light, which was to be his last hit. Country musicwas a perennial favourite of Hunter´s reflecting his Texas roots. Cuts such as Jenny Lou Carson´s ´Jealous Lover´ recorded for King in 1949. various Hank Williams songs recorded for MGM and for Atlantic. Ted Daffan´s ´Worried Mind´ and the song ´I´ll Take You Home Again. Kathleen´ are all examples of Turner´s talent for pre senting country numbers Ina style that appealed to and sold fn the R & B market. This collection contains all Ivory Joe Hunter´s Dot sides, which were originally repackaged in album form In 1964. These sides cover a variety of styles Including Gospel. R & B and country. Hunter continued to record for various companies during the sixties. Including Capitol. Smash, Stax, Teardrop and Epic. His last album, released on Paramount ´I´ve Always Been Country´ recorded at Jack Clement´s studio in Nashville was his greatest joy. Hunter died of cancer on the 8th November 1974 Ina Memphis hospital, but his music lives on and he will be remembered as a truly Individual talent. Ray Topping 1984