Pop & Rock News

Caught live in the act in 1969 at the Club Amigo in North Hollywood, this LP features Screamin' Jay Hawkins at his raw, unhinged best. Though recorded years after he first hit it big with 'I Put A Spell On You', his sound remained as guttural and urgent as ever. A rare and sought after LP in its original form, Barnyard is happy to make this available again on vinyl for the next generation of Hawkins fans.

Gegründet Ende 2012 in Berlin, gelten Autobahn Outlaw als die
neusten Bad Boys im weltweiten Rock n Roll Zirkus.
Lutz Vegas (V8 Wankers) aus Offenbach am Gesang, Steve - Kingy'
King (Rose Tattoo) aus Sydney am Bass, Ronnie Simmons (The Art)
an der Leadgitarre und Steve Woodward (The Licks) am Schlagzeug,
beide leben in LA und rocken das Hollywood Boulevard hoch und
runter. Zusätzlich vervollständigt Luke Le Duke, der Rhythmus-
Gitarrist der V8 Wankers das Global Dream Team an der Slide Gitarre.


Autobahn Outlaw werden vor allem von traditionellem Rock ‚n' Roll, Tattoos,
Pin-Ups, Motorrädern und Amikarren mit dicken V8-Motoren beeinflusst.
Eine wilde Mischung aus traditionellen Aussie- und europäischen Speed-
Rock mit einem Hauch von Hollywood ist angesagt.
Das Debütalbum - RU12' wurde im StereoBlue Studio direkt neben der
Autobahn A5 in Friedberg (Hessen) aufgenommen und fährt nicht nur
deshalb auf der Überholspur mit maximaler Geschwindigkeit und höchstem
Gang.

Das Logo der Band wurde von dem renommierten, amerikanischen
Lowbrow-Künstler Dirty Donny entworfen. Die weltweite Veröffentlichung
des Albums ist am 24. Oktober 2014 über Golden Core / ZYX. Zeitgleich mit
der Veröffentlichung des Albums erscheint auch das Video zum Smash-Hit
- Black Belt', das in Sydney / Australien gedreht wurde.
Ab jetzt - immer brav in den Rückspiegel schauen und auf Autobahn
Outlaw on the road achten.

'The Minimum Wage' from 1962 is a superb Popcorn shuffler with a trademark laughing sax and a rising price
tag, Louis Jordan 'king of the jukebox', was one of the most successful black American musicians of all time.
He was mostly associated with the Swing era, something that is still evident on this 1962 Tangerine recording

'Downstairs' is a super-cool popcorn instrumental from the man who is probably best known for playing the instantly recognizable tenor sax line on the theme tune to the Pink Panther. There is indeed more than a hint of that famous theme to 'Downstairs', a jaunty, swinging number with 'crime jazz' undertones. On the flip-side 'Blue Jean Shuffle' is a straight ahead honking Rock & Roll Romper!

2LP vinyl collector's edition featuring 32 of the most sought-after rockabilly cuts from the 105-track 3CD set
Features recordings from the pioneering Mar-Vel' and Glenn labels, and other important Indiana rockabilly labels
A must-have for collectors of rockabilly; cult favourites and rarities from the respected and the neglected
Compiled and annotated by rock & roll authority Dave Penny, comes with illustrated insert
Mar Vel' & The Birth of Indiana Rockabilly

The 2LP vinyl collector's edition of Hoosier Daddy sees rock & roll authority Dave Penny select 32 prime rockabilly tracks from his a massive 105-track 3CD set. This latest release from Fantastic Voyage provides yet another piece in the musical jigsaw that was the USA before the globalisation and homogenisation of the music industry. Hoosier Daddy tells the story of the pioneering and industrious Indiana record man, Harry Glenn, and his Mar-Vel' and Glenn labels and his importance in bringing country rock 'n' roll to the state of Indiana.

Indiana, the Hoosier State, is not one that immediately springs to mind when considering the great centres of American musical excellence in the mid-20th century. The celebrated Vee-Jay Records was launched there in 1953, but within months had relocated to nearby Chicago. A host of jazz legends graduated from the clubs of the state capitol, Indianapolis, which also played host to a lively blues scene in the 1920s and 1930s, from which Leroy Carr and Scrapper Blackwell emerged, but musicians had to seek their fortunes elsewhere. By the mid-1940s, with the war effort in full swing, the influx of those leaving the southern states to colonise the north-western corner of Indiana, in pursuit of well-paid jobs was at an all-time high. While these migrants may have considered themselves neo-sophisticates with fat bank rolls in their pockets, they were homesick and pining for some down-home entertainment which was willingly supplied by other, musically-gifted migrants from Tennessee, Mississippi, Arkansas and Alabama. Into this maelstrom of musical talent entered a man with the desire to supply this untapped market, but not another Southern migrant - Harry Glenn was a Hoosier born and bred...In addition to long-cherished cult rockabilly favourites such as Bobby Sisco, Herbie Duncan, Chuck Dallis and Harry Carter, Hoosier Daddy includes a host of rare tracks from other more obscure performers. In addition to the Harry Glenn story, we also look at the other important Indiana rockabilly labels from Indianapolis (Note, Nabor, Yolk, Tyme, Glee and Whispering Pines), Fort Wayne (Emerald), Marion (Claudra), Muncie (Poor Boy) and others...all gone but not forgotten. All in all, a must-have for collectors of rockabilly.

The late sixties and early seventies spectacle of Jamaican Deejays taking their live performances out of the dance halls and translating them into hit records, not only marked the beginning of forty years of dance hall driven music on the island but also provided the original inspiration and template for the global dominance of rap and hip hop.
The art of deejay was now rightly recognised and the toasters or talk over artists advanced from introductions and interjections to stringing complete sets of lyrics together and riding the rhythm for the entire length of the song.
Deejays including U Roy, I Roy, Dennis Alcapone, Big Joe ,Little Joe and Prince Jazzbo who built their reputations working live on sound systems,now went one step beyond and moved on to become recording deejays with entire catalogues of hit singles and albums to their credit.
Throughout the seventies a whole host of mic men followed in their wake including Dillinger,Dr.Alimando,Clint Eastwood and Jah Stitch.
Talking records were not new, but 'talk over' records were...the repercussions of this uniquely Jamaican phenomenon would go on to reverberate worldwide...

01. Cocaine in my Brain-Dillinger
02. The Barber Feel It-Dr.Alimantado
03. Hold On-U Roy
04. War and Friction-I Roy
05. Roots Natty Congo-Dillinger
06. Good Memories-Prince Jazzbo
07. In the Ghetto-Big Joe
08. It Must Come-Dennis Alcapone
09. Bury the Barber-Jah Stitch
10. Tradition Skank-Little Joe
11. Kendal Crash-Trinity
12. Daylight Saving Time-Dillinger
13. What a Hard Man Fe Dead-Clint Eastwood
14. Give me a Helping Hand-Trinity
15. King of the Arena-Jah Stitch
16. Tickle Me-Dillinger

The late sixties and early seventies spectacle of Jamaican Deejays taking their live performances out of the dance halls and translating them into hit records, not only marked the beginning of forty years of dance hall driven music on the island but also provided the original inspiration and template for the global dominance of rap and hip hop.
The art of deejay was now rightly recognised and the toasters or talk over artists advanced from introductions and interjections to stringing complete sets of lyrics together and riding the rhythm for the entire length of the song.
Deejays including U Roy, I Roy, Dennis Alcapone, Big Joe ,Little Joe and Prince Jazzbo who built their reputations working live on sound systems,now went one step beyond and moved on to become recording deejays with entire catalogues of hit singles and albums to their credit.
Throughout the seventies a whole host of mic men followed in their wake including Dillinger,Dr.Alimando,Clint Eastwood and Jah Stitch.
Talking records were not new, but 'talk over' records were...the repercussions of this uniquely Jamaican phenomenon would go on to reverberate worldwide...

At last on a 45 his finest Rockin' two sides on one salacious 7" platter!

SALES POINTS:
MIND BLOWING NORTHERN SOUL courtesy of The Exciters, Willie Kendrick and Cindy Lynn
Featuring new-to-vinyl couplings, rarities and in-demand current favourites
The Outta Sight Northern Soul library continues to build, start collecting the series today!

DETROIT DYNAMITE six hot sides direct from the Motor City

MIRACLES DO HAPPEN... Two of Smokey Robinson's finest R&B dancers back-to-back for the first time

DO THE 'CAMEL WALK'... Saundra Mallett's impossibly rare and original Detroit collectable coupled with LaBrenda Ben's Northern Soul floor filler

RARE & COLLECATABLE The Sound Of Outta Sight

Get 'em while they're hot!

A Native American Themed Twin-Spin, With The Top Side Featuring The Scouts Recounting Custer's Infamous Last Stand In Stomping, Hollering Glory

Keb Darge has been with BBE since the beginning, he recently lived through a typhoon which destroyed the village where he lives in The Phillipines. His story, like the story of all survivors is a harrowing one. Somehow he managed to escape, with some records and put this album together, if you want to know more, check the sleeve notes, all the tracks were recorded between 1956 and 1964, and without them, we'd not have the incredible 40 years of 'Rock' music history to enjoy today, these were the trend setters of the day who laid the blue prints for what came after. Keb takes up the story ....
'Well it's been a rather exciting time for us since the last volume. We were in an Armageddon zombie survival movie with giant mutant rats attacking our house, gangs of armed convicts roaming the area raping and killing, hundreds of dead relatives and neighbors rotting in the sun, evil government officials hiding any food from the starving populous... Oh hell, my wife just told me it wasn't a movie, it was real. I wouldn't have got so involved if I'd known it was real at the time. Sadly we haven't had much record buying excitement. Indeed there was a point where I would have swapped some of my rarest bits for a loaf of bread, fairly puts things into perspective. We have had to move back to London for a few years as a result, but feel lucky to have been able to do so. My heart goes out to those Filipinos who do not have the ability to escape. If any of you ever contemplate charity donations I must say that the International Red Cross and Plan International stand head and shoulders above the rest from my 'on the ground' observations. Some of the others should be shot for their photo shoot opportunist attitude. There we are then. I hope you get as much pleasure from these tunes as I do. Perfect for parties, clubs, bath time, or just lying on the sofa absorbing their innocent beauty.A special thanks to all from the International Red Cross, Plan International, and the US Navy who came to our aid in Eastern Samar.' (February 2014)

Bio
The legendary out-spoken Scotsman has been around the Northern soul & funk scene since the start and began his career as a dancer. As soon as he had enough money together he started collecting and buying Northern Soul in the UK, during regular trips to the US and was starting to play around the Wigan area at the heyday of The Casino. By 1981 he had gained a respectful reputation as a DJ. He moved to London at the age of 22 and decided to start living a normal life and quit DJ'ing, but was quickly playing Northern-soul again due to heavy demand by old Wigan promoters. He brought the scene to London and drew the Northern punters that had moved to London after the Wigan scene dissolved. After a few years, the Northern scene faded, Keb sold his music collection but he still had a loft filled with 'junk' music (according to himself) that he had picked up in the states that was to-be classified as "Deep Funk" later on. So in 1989 house music arrived in the UK, and Keb decided to play the funk grooves after a trip to Japan. He managed to get a regular night at an acid-jazz club called 'The Wagclub' and he finished there after a period. And around 1992/93 he met fellow collector Snowboy on the first funk-only night in London called 'Deep Funk', named by Keb (that he later used as a name to describe the sound) but arranged by the owners of the club (Club Ormonds). After a while Snowboy and Keb wanted to push the funk sound further and they decided to start their own night in an old restaurant. The nights failed due to the domination of house and shut down after a few months. Not so long afterwards Keb got a tip for a new location that was a strip-club in Soho called Madame Jojo's. The location was perfect and he managed to arrange a weekly night to start with. The nights took off fast and are today it is the leading funk night in London. Later on the strip nights closed and the venue became a full time music club. In 1996 BBE and Keb Darge teamed up to start releasing the now infamous Deep Funk and Funk Spectrum series that spawned a whole host of imitators. He has achieved legendary status by far with a 40's to 70's musical knowledge second to none that is perfectly reflected on his BBE compilations. In 2012 Keb and his wife Little Edith moved to the Philippines, but had to return to London in 2014 after the devastating typhoon Hayan.

Chuck Berry - steel guitar on "Deep Feeling", vocals, guitar, Johnnie Johnson - piano, Willie Dixon - bass, Fred Below - drums
L. C. Davis - tenor saxophone on "Too Much Monkey Business" and "Drifting Heart', Jasper Thomas - drums, Ebby Hardy - drums
Otis Spann - piano, Jimmy Rogers - guitar, Leonard & Phil Chess - producers - Deluxe coloured vinyl and Cd package in original 1957 cover art - Liner notes by rock n roll author musician and mojo writer Max Decharne - All songs remastered - Artwork designed by Sophie Lo. After School Session was Chuck Berry's debut LP, but when it appeared in 1957 he had already been famous for two years. The teen market in those days was based around singles, not albums, and he had built a formidable reputation releasing one killer 45 after another. On stage, screen, and radio, he had been featured heavily by deejay Alan Freed, whose syndicated radio show, All-Star stage packages and Hollywood drive-in features put Chuck right in the front rank as rock'n'roll swept all before it.
Released in May 1957, the album came complete with sleeve notes describing the man himself as 'our Rock-a-Billy Troubadour'. If this sounds a little strange to modern ears, it's worth recalling Chuck's well-documented love of hillbilly music, and Maybellene's own roots in the 1938 Bob Wills recording, Ida Red.Chuck once said that his influences ranged all the way from Muddy Waters to Jimmie Rodgers, via Nat King Cole. Out of this he created something truly his own, which wasn't strictly R&B and it wasn't hillbilly either. This, unquestionably, was rock'n'roll, and with this LP and its preceding singles, he laid down many of the genre's enduring ground rules. As the original back cover proudly stated, 'The songs are all original compositions written by Chuck, for Chuck, and as only Chuck can perform them'. Of course, other fine Chess musicians were backing him, but here was a star who sang, played, and crucially wrote his own material. Max Décharné Max's history of rockabilly, A Rocket in My Pocket, is published by Serpent's Tail

Limited edition 7' vinyl single (300 copies) includes mp3 download. London's Cosines are back with Commuter Love / Disclosed Stories 7', the follow up to their debut single Hey Sailor Boy! / The Answer. As with their debut, Cosines' schizophrenic nature is their strength, with being able to float above the current indie pop crop by infusing elements of baroque pop, krautrock, sunshine pop revival, glam rock, and synth-driven new wave while never taking so much from any genre to bog themselves down and lose sight of crafting perfect pop hits. The A-side Commuter Love is the tale of someone who spends their days commuting to work set to a glam rock and romp. It's an icy cool song about train commutes with nods to Blondie's pouty pomp and Goldfrapp's sultry stomp. Lyrics we can all relate to set to verse chorus verse, it's a hit all the way to the top to help ease your working week and those daily travels. You know the moments where you are sitting there and you slip into your mind and you realize you are stationary and your life is passing you by. Time wasted in transit from station to station all to sit stationary at work at a desk or monitor only to get home to be so tired you are sat stationary again flipping from yet another type of station to station. You have more knowledge about the characters on TV and their lives than those of your friends. The B-Side Disclosed Stories walks the line between sunshine revival, motorik krautrock-isms and stoic soul, and features a guest appearance from Apples In Stereo's Ben Phelan. It's like if Camera Obscura was influenced by Neu! and fronted by Kirsty MacColl. The song recalls a place we've all been at some point where you have that one friend which is so close you think maybe it could work out, but you can't ruin what you have. You are there for each other sharing those stories and times that are pure frustration watching each other make mistakes. You think if the person you were with was like them, but you know it will end it heartbreak if you did. What you maybe would get if you mix Love, United States of America and Stereolab. As a band they are constantly trying to find the perfect meeting point between clean synths and fuzz guitars. // "as refreshing as bicycle practice" Everett True // "marshmallow-fed, mathematically inclined indie-pop" Drowned In Sound // '"Hey Sailor Boy! sets off as a northern soul stomper before adding lovely strings and flirty lyrics. And they have produced not one, but two catchy efforts, as a b-side The Answer is also pretty darn good, albeit more in a Stereolab synth krautrock styleeee" Sounds XP' // "a charming song with echoes of Allo Darlin' & Camera Obscura, and proof that you can indeed make a non-sexual song about booty-calls" Metaphorical Beat // May 10: The Star and Garter, Manchester, 15th The Chameleon Nottingham, 16th Sebright Arms London, June 6th Four Bars at Dempseys Cardiff, 7th Going Up The Country Congleton, 8th Wharf Chambers Leeds, 21st Paper Dress, London, 23rd Buffalo Bar London //

Formed in 1980 using the name The Green Telescope, the idea was of playing the '60s sounds that they were then discovering every day. They switched names to The Thanes (of Cawdor) in 1986, because says Lenny Helsing (lead guitar/vocals), 'We wanted something with less of a psychedelic vibe, a name that would more accurately fit in with our sixties American teen-punk garage infatuation.' Their first album 'The Thanes of Cawdor' was released in 1987, leading to their organ-driven garage band sound getting these Edinburgh boys support slots with the likes of The Soup Dragons, Primal Scream and, in more recent years, original Nuggets-era bands The Remains, The Sonics, and & the Mysterians. Over the years the group has seen releases on some of the most respected labels supplying the international garage-punk scene, with vinyl and CDs on Screaming Apple (Germany), Larsen (France), Corduroy (Australia), Misty Lane (Italy) and . . . now appearing on the UK's premier garage rock'n'roll label. With a breathtakingly exciting original in the form of 'Dishin' The Dirt' and a revamped slice of vintage Scot-beat stomp in 'I Don't Want You', The Thanes - Angus McPake (organ/guitar), Mark Hunter (bass/backing vocals), Mike Goodwin (drums) and the aforementioned Helsing - have created two new recordings produced in McPake's 'Ravencraig' studio lair, a setting that positively channels their predilection for '60s garage fuzz beat, while, appropriately, bringing out unashamedly untamed, and unchained, aspects of the group that we don't get to hear too often.

The Shivas are Portland's premier surf-rockers and back-alley dance party rollers, lovers of '60s pop and psychedelia but players of something modern and mischievous. A-side "You Make Me Wanna Die" makes you feel like you're watching the kids do the monkey on The Corny Collins Show, hair up in beehives and arms goin' wild. It's a song of love gone way too good or way too bad, but either way you spin it, they got passion. Flip it over for "Whiteout," the title track from their last LP (WHITEOUT / KLP243) that got left on the cutting room floor but remains the most infectious surf riff you'll hear this decade, featuring a cameo by Calvin Johnson at the 15 second mark. Closer "So Far Out Of Control" sees Jared Molyneux going solo in Dub Narcotic Studio and recording everything himself onto a reel-to-reel eight track. It's catchier than the flu, but feels way better.

One-time limited pressing of 1000 copies of red vinyl. The Men's new LP for Sacred Bones is the tongue-in-cheek-but-still-auspiciously-titled Tomorrow's Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow's Hits is a concise collection of songs that nonetheless expands the band's ever-evolving musical palette. It's an album full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band. After spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. The converted founding member Mark Perro's bedroom in Bushwick into a practice space and rehearsed there nearly every day for three months, cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn's Strange Weather studios, clocked in, and tracked all 13 songs entirely live, even including a horn section. Eight songs from those sessions made the final cut for The Men's new LP, Tomorrow's Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow's Hits is a concise collection of songs that nonetheless expands the band's ever-evolving musical palette. It's full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band. Reviews will be running in all major magazines.

2 x raw, ecstatic face-melting guitar solos recorded in one take in the Ambarchi `Stacte tradition'. 

This time around Ambarchi is backed up by a badass rhythm section from Texas, and together they ride the endless riff into the goddam sunset.

The latest compilation, RM5 boasts twenty swinging rarities, including soul
legend Sharon Tandy singing under an alias, a demo version of a freak-beat
favourite, a track rumoured to be 'the king of soul', plus two tracks from
two bands, containing two members who would eventually form one of the
greatest seventies Glam bands ever - The Sweet.

The Montanas - Hey Diddle Diddle (Demo)
The Montanas formed in 1962 in Dudley and quickly established themselves as
a top local beat group. In 1965 they secured a deal with Pye records and
over the next four years issued a run of brilliant 45s including
Roundabout, Top Hat and their magnum opus That's When Happiness Begins,
which will no doubt be familiar to all. Their contract with Pye had expired
so they began recording new material in the hope of securing a new deal,
which lead to MCA issuing the brilliant Hey Diddle Diddle as a 45, but
featured here for the first time is the glorious demo version.

Debrah Aire - Don't Be Proud
The mysterious Miss Debrah Aire was in fact the legendary Sharon Tandy
recording under a pseudonym. Polydor records issued a version of Exodus -
This Land is Mine by her under this name in 1966 but the follow up, that we
feature here, was shelved and only recently rediscovered on white label
test pressing.

The Troop - You'll Call My Name
The Troop were from Harefield, Middlesex, and notable for the fact that
their lead singer was future frontman with The Sweet, Brian Connolly. This
was taken from what is thought to be the only surviving acetate.

The Dynamite Orchestra - Sh'Mon Part 2
Legend has it that Mr Dynamite is none other than the fabulous Mr. James
Brown. It was in fact an American group called The British Walkers from
Washington D.C.. It was issued in the UK, on Guy Steven's Sue Record label,
and it has gone on to achieve legendary status on the mod scene.

The Army - Sugar
The Army are best known as the group that spawned future Sweet bass
player/singer Steve Priest. In 1967 they cut two tracks that were never
released including this cover of the Joe Tex hit Sugar.

1950s Rockabilly Blasters!