(2006/JAT) 23x26 cm, color & b/w, 112 Seiten, Fotobuch (Broschur) auf hochwertigem Papier inkl. CD mit Radio Jingles und Interviews zum Film. Enthält Fotos der aus dem Film gestrichenen, damals nicht jugendfreien Szenen. Mittlerweile sehr seltenes Elvis Presley Sammlerstück! Neuware (Bear Family Records) The Making of CHARRO! and Selected Interviews By Bill Bram Filming for Charro! commenced on July 22 and was completed on August 28, 1968. Exteriors were shot at the Apacheland Movie Ranch1 in Apache Junction, AZ. Interior sequences, such as the sheriff´s office, the saloon and bedroom scenes, were filmed at what was then known as United Artists Studios.2 This was the third and last film Elvis would do at this Hollywood studio. The other two films he shot here were: Kid Galahad and Frankie and Johnny. While in Arizona the cast and crew stayed at the Superstition Inn. Elvis, his father Vemon, and the rest of his cronies stayed on the second floor. Colonel Parker, stayed in the hotel as well - at least for part of the filming. The director and writer, Charles Marquis Warren, watched dailies at the hotel, probably in one of the convention halls. Fans would hang out at the hotel in hopes of getting a glimpse of Elvis. Towards the end of location work, Elvis held an impromptu concert in the hotel bar for the movie company. He reportedly sang for well over an hour. In addition, when filming wrapped at the studio, a wrap party was held - and again Elvis performed, probably on one of the sets for the film. Charles Marquis Warren thought, after he had first heard Elvis sing in the fifties, that ´´he was a negro . . . the bits and pieces I heard him sing, he sounded like one.´´ When National General, the movie company that financed the picture, told Warren that Elvis had read his script, liked it and wanted to play the lead role, Warren was aghast. The people at National General urged Warren to, ´´Just meet him, maybe you´ll change your mind.´´ They were right. Elvis and Warren met, for the first time, at a restaurant next to United Artists Studios called The Formosa. To quote Warren, ´´I liked him a lot . . . we didn´t fall in love. He wanted to hear what I had to say. I wanted to hear what he had to say.´´ After lunch Warren took Elvis to Western Costume Company to try on some cowboy clothes. Warren picked out ´´a bunch of crummy clothes . . . a worn out shirt and pants, scuffed boots and a beaten up hat.´´ Elvis looked in the four way mirror and said in his typical modest way, ´´I like it, it it´s all right with you.´´ Warren thought Elvis looked great. Warren decided to put a beard on Elvis, to make him look more like a tough Western hero, but Elvis´s new look didn´t quite work; to quote Warren, ´´he looked like Jesus Christ.´´...
(1965 ´Stax´) Sundazed Orginal-Hülle, 180-Gramm-Ausgabe. Excellentes instrumentales Soul-Album / Reproduced with the original cover. Excellent soul instrumental album. Following up their smash debut album Green Onions, 1965´s Soul Dressing keeps the MG´s party going in fine fashion. From the first smack of Al Jackson´s crisp-as-a-potato-chip snare attack, the groove never lets up on these 12 original tracks. Guitarists will want to pay special attention to Steve Cropper´s aggressive, proto-fuzz/funk Telecastering (as surely, Jimi Hendrix, Ernie Isley and Billy Gibbons were all doing at the time). Add to that mix the cooking organ and high-voltage electric piano of Booker T. and rock salt-steady bass lines of original MG bassist Lewie Steinberg and you´ll have a dressing fit for any occasion. Hungry yet´ Want to mix up this dressing at home´ First, you´ll need to pick up the original, done-to-perfection Stax Records analog master tapes. While stirring steadily, add a high-definition dose of the freshest vinyl available. Bake at 33 1/3 degrees until done to high glossy finish. Serve in the original, full color artwork and, PLEASE, no MSG, just BT&MG!!!
English, paperback, 21.5x27 cm, 150 pages, throughout illustrated with b&w movie stills and poster repros. The complete guide to the teen explotation films from 1954 to 1969 with film index. 1986 collector´s item - rare original print! - ´The - I Was A Teenage Juvenile Delinquent Rock & Roll Horror Beach Party Movie Book´.
(1938/39 ´Delmark´) (47:40/18) Zuvor unveröffentlichte Aufnahmen / previously unreleased private recordings from Chicago, featuring ALBERT AMMONS, MEADE LUX LEWIS, PETE JOHNSON - pianos. With Meade Lux Lewis and Pete Johnson. 14 of the 18 songs were recorded in September/October ´39 at the Hotel Sherman, Chicago for radio broadcast. The remainder are from a late ´38 recording at Frank Lyon´s home studio. Highlights include Lewis´ jive commentary on ´´Three Little Words´´ where he addresses fictitious dancers and the notorious landlady at a rent party and the duet on two pianos by Ammons and Lewis on ´´Saturday Night´´. Boogie Woogie Stomp is also the name of a book about Ammons by Christopher I. Page (pub. Northeast Ohio Jazz Society, 1997) who provided the source material for the Hotel Sherman material. Also available: Pete Johnson Central Avenue Boogie (656.)
(VERBRUGGEN/2004) 17,5cm x 24,5cm, hardback, engl., 144 pages. John Wilkinson was a member of Elvis´ TCB Band and spent years with him on the road. Here are his memories with many b/w photographs. This book isn´t only for Elvis Hardcores. A five tracks CD is also included featuring an introduction from Elvis concerning John Wilkinson. - Written by John Wilkinson’s biggest fan and professional journalist, Peter Verbruggen, is a recollection of memories of John’s years with Elvis. The book has John Wilkinson’s signature all over it, if only for the opening of the book with the lyrics of his signature song, ´´Early Morning Rain”. Although John joined Elvis in 1969, Elvis pops up early in the book, the first meeting of John with Elvis took place when John was only nine or ten years old and Elvis performed in John’s hometown Springfield. From there John’s life as a musician leads us through the late fifties and sixties on a musical trip ending in the seventies with Elvis. The memories on the pages are all positive (sweetened thru the ages), but also realistically and deal with the problems Elvis had and how the people surrounding them coped with it, all in their own way. The image of ´´life on the road with Elvis” we get from the book is the same as we got when John told these stories to us personally. What makes this book extra interesting is the amount of memorabilia. Besides newspaper clippings, song lineups and rehearsal schedules we get great photo’s of Elvis (from the early fifties and of course on stage with John Wilkinson) and we see a lot of candids and publicity shots of John himself painting a good picture of being a musician in the sixties and seventies. Most interesting however is the large number of official documents regarding John’s business relation with Elvis, or should we say Colonel Tom Parkers ´´Elvis Presley Show”. These personal contracts, thank you notes and other official documents have not been published before. It gives a nice insight into the business side of the Elvis Presley road show. You can clearly tell Peter Verbruggen is a professional journalist; the text is written very well and reads pleasantly, presenting the memories of John in a nice way. The chronology jumps a bit through time every now and then, but that is what happens when you start reminiscing good memories, new things come to mind. CD the book comes with a bonus CD containg John´s own single releases and two hidden bonus tracks in which you can hear two live recordings of John performing his signature song ´´Early Morning Rain´´ on stage with Elvis and the TCB band. But on these versions he does not only play the guitar, but also sings them. Conclusion The memories which found their way to the pages of this book paint a realistic picture of life on the road with Elvis. Combined with the original documents and illustrations this book is a good addition to the many biographies of Elvis which tell the story from Elvis’ point of view. This book is clearly made with love, not just for the money because someone knew Elvis. But that was to be expected from the man who stood in the back at all of Elvis live performances.(ElvisNews.com) - Strictly limited souvenir-CD contains: Track 1. Elvis introduces one of his best friends 2. Darling Corey 3. Elvis introduces the band 4. Lost Children 5. The Great Truck Race 6. Elvis introduces John 7. (Let´s have a) Party + bonus tracks Early Mornin´ Rain (Lake Tahoe 1976 en Baltimore 1977) Not to be sold separately.
1-CD Digipak (4-seitig) mit 49-seitigem Booklet, 17 Einzeltitel. Spieldauer ca. 44 Minuten. Ein musikalischer Cocktail: ´The Sound Of Tiki´! Reisen Sie zu fernen tropischen Orten, während Sie in ihrem Wohnzimmer sitzen! Erleben Sie den verbreiteten Mythos von Tiki durch Musik! Diese fein ausgewogene Mischung aus esoterischer Mood-Musik und swingenden Lounge-Songs ergibt ein harmonisches, aber nie langweiliges Musikerlebnis. Ungewöhnliche Versionen von Exotica-Klassikern und bisher unveröffentlichte polynesische Pop-Songs bedeuten gleichermaßen Spaß für den erfahrenen Vinyl-Archäologen wie für den Tiki-Novizen. Ein 52-seitiges Begleitheft mit seltenem farbigem Bildmaterial und informativem Text ergänzt das exquisite Exotik-Erlebnis. Mögen Sie ´Exotica´? Wer oder was ist ´Tiki´? Und wie verhält sich beides zueinander? Zehn Jahre nach der Veröffentlichung des ´Book Of Tiki´, in dem Sven Kirsten den vergessenen Kult der polynesischen Popkultur wiedererweckte und den Tiki als dessen Hauptfigur definierte, werden die zwei Genres in dieser CD vereint. Sven Kirsten hatte das Glück, die beiden wichtigsten Interpreten der Exotica-Musik, Martin Denny und Arthur Lyman , gesehen und live gehört zu haben, bevor sie zum ´Großen Luau´ im Himmel gerufen wurden. Jetzt benutzt der Archäologe seinen Tiki-Erfahrungsschatz, um ein neues Licht auf die Themen und Konzepte der polynesischen Popkultur zu werfen. Indem er ein wahres Füllhorn musikalischer und visueller Kleinode zusammenstellt, erweckt Sven Kirsten die Tiki-Ära, in der urbane Paradiese in fast jeder Großstadt Amerikas existierten; sie halfen bei der Flucht aus dem ermüdenden Arbeitsalltag. Diese Sammlung ist weit von einer trockenen Geschichtslektion entfernt. Sie eröffnet mit optischen Leckerbissen und Stimmungsvollen Tongemälden eine neue Dimension auf jeder Luau-Party oder in Tiki-Bars. Sven Kirsten lädt Sie ein, diesen musikalischen Cocktail exotischer Klänge zu genießen, vielleicht mit einem Glas Rum in der Hand. Und selbst, wenn Sie sich nicht gerade in tropischen Gefilden befinden, werden großartige Tiki-Tempel vor Ihrem geistigen Auge wiederauferstehen.
(See For Miles Records)) 26 tracks Stateside & Columbia - It was in June 1967 that the ´Atlantic Soul Review´ hit Amsterdam to play a concert at its renowned concert hall, the Concertgebouw. The star studded pack-age featured some of the finest talent from the Atlantic and Stax labels such as Sam and Dave, Eddie Floyd, Carla Thomas, Arthur Conley and Booker T and the MG´s. Wilson Pickett had been announced as the headliner of the show, but he appeared to be indisposed and was replaced by Lee Dorsey at the last minute. I had recently been installed as the label manager for the Stateside label at Bovema, the Dutch company that represented EMI Records. Lee´s recordings on the American Amy label were released on the Stateside label in Holland. I was duly consigned to perform the usual hospitality ritual bestowed on visiting international artists that the record company represented. In the case of Lee Dorsey, this proved to be a delightful job. Lee was a happy and easy going character with an infectious grin and chuckle. I spent one of my better nights out, introducing Lee to the various delights that Amsterdam had to offer during the late 1960´s, and I can assure you that he was great and appreciative company. The next evening he proved to be a consummate showman and hard worker as the only non-Atlantic/Stax artist in the ´Atlantic Soul Review´. Lee stole the show and won the hearts of the Dutch soul fans with his segment in the show, culminating in his suggestive and humorous rendition of ´Ride Your Pony´, which caused a near riot in the usually sedate Concertgebouw. Irving Lee Dorsey was born in New Orleans on December 4, 1926 and moved to Portland, Oregon at the age of 10. During the late 1940´s and early 1950´s Lee was a successful lightweight boxer, operating under the nickname ´Kid Chocolate´. He survived a four year stint in the Navy after which he resumed his boxing career. Lee hung up his boxing gloves during the mid 1950´s when he returned to New Orleans. Circa 195658 he met Allen Toussaint, either at a party or in a studio to which he had taken a page of verse in the hope of making a record out of it. At that time the younger Toussaint, born in New Orleans in 1938, had already passed through the R&B group leader and touring accompanist stages to begin his climb through the ranks of local session musicians. During the late 1950´s Lee made his first recordings for Joe Banashak´s Instant label. One of these singles was ´Lottie Mo´, which became a regional hit on which he was backed by Allen Toussaint, who also arranged the track. Marshall Sehorn, who was Southern promotion man, talent scout and sometime producer for Bobby Robinson´s New York based Fury label, heard ´Lottie Mo´ on the radio during one of his visits to New Orleans in 1960. Marshall was duly impressed by the record and Lee subsequently signed to the Fury label. ´Ya Ya´, Lee´s first Fury single, exploded and went to No. I R&B and No.7 Pop on the Billboard charts in September 1961. Petula Clark covered the song as ´Ya Ya Twist´ for consumption on the European market, and reached the UK Top 20 with it. Fury followed ´Ya Ya´ up with ´Do-Re-Mi´ in December 1961 and again Lee scored a considerable hit, peaking at No.27 Pop and 22 R&B on the Billboard chart. ´Do-Re-Mi´ was regularly performed by Georgie Fame and Dusty Springfield. Lee recorded another 3 singles for Fury, but the hits had dried up. A subsequent Fury album contained 15 tracks, Lee´s total recorded output for the label, recorded in New Orleans in 1961 and 1962. Allen Toussaint who wrote, arranged and produced hits for Joe Banashak at this time, also freelanced and almost certainly arranged and co-produced with Marshall Sehorn all of Lee´s Fury sides. Toussaint did not play piano on ´Ya Ya´ according to Kurt Mohr´s Lee Dorsey discography. The backing on ´Ya Ya´ was provided by: Marcel Richardson, piano, Melvin Lastie, trumpet, Harold Battiste, tenor sax, Red Tyler, baritone sax, Justin Adams, guitar, Chuck Badie, bass and John Boudreaux, drums. The back-up on ´Do-Re-Mi´ consisted of: unknown horns, Allen Toussaint, piano, Roy Montrell, guitar, Richard Payne, bass, and John Boudreaux on drums. The Fury label collapsed in 1963 and Allen Toussaint was drafted into the army at the same time Lee returned to his car repair business while his recording career temporarily stalled. During the next few years Lee, still managed and produced by Marshall Sehorn, had a single released on the Smash label and