/span> (2017/Rhythm Bomb) 12 Lieder (32:57) Digisleeve. Samuel ´Harmonica Sam´ Andersson - Vocals and MundharmonikaMartin Abrahamsson - Gesang und GitarreMagnus Lanshammar - Bass und GitarreRonni Busack-Boysen - Lead-GitarreDaniel Winerö - Drums ,- Take a big bucket of unpolished Mississippi juke jointBoogie und mischen Sie es mit einem weiteren Eimer entspanntenund den Heim-Blues. Fügen Sie eine Teetasse Sumpf-Pop, eineEsslöffel Hillbilly und ein Pfund Profan,ekstatisches Evangelium und Sie ´ll haben die Kokomo Kings.Das ist Rock ´n ´roll bevor Rock ´n ´roll geboren wurde.Nichts als primitive, groovige Samstagnachtsmusik.zum Tanzen gemacht.Die lang erwartete Fortsetzung ihres stilvollen DebütsPlatte ´Artificial Natural´ ist hier, ihr Name ist ´TooGood To Stay Away´ voller roter Rockin-Rhythmusund Blues. 12 farbenfrohe Originale beweisen einmal mehr, dass dieGeschicklichkeit und Handwerkskunst dieses dänisch/schwedischenZusammenarbeit. Lang erwartet wird das Remake von ´TheRiver Tumed To Steam´, der als 7inch erhältlich war.Version oder ´Ein verschwendeter Tag ist für immer verloren´.ein weiterer Dancefloor-Killer! Kluger Text, rohungeschliffene und primitive Rhythmen zum Tanzen !Das ist zu gut, um sich davon fernzuhalten, also beeilen Sie sich.Holen Sie sich diese kleine Platte von Ihrem örtlichen Plattenhändler.
(Amy) 18 tracks The Viscounts Rock is the title given to this record and just one playing will ensure that this is no idle boast. From the beginning to the end, the group keep the tempo up and your feet tapping. The big bag among record companies these days is to be fortunate enough to come up with a successful singles release, and. before you can say I-can´t-wait-for-the-album, rush to market an LP featuring the hit artist and titled after the hit number. This package fits into that category with an interesting difference. Record fans, with rock and roll memories that go back some years, will recall that The Viscounts had a solid winner with ´Harlem Nocturne´, a rather slow and haunting version which has since been followed by several other chart entries, some slow and other full of the big beat. All of which goes to that that a good performance of a great song just can´t be held down. ´Harlem Nocturne´´, of course, was no stranger to the pop music world when the instrumental,ts made it a classic in the teenage market. The same goes fora greater part of the album´s bill of fare, which includes such superior evergreens as, ´Summertime´ and ´September Song´. Also included are such familiar showcase favo-rites among instrumental groups as ´When The Saints Go Mar-ching In´, ´Along The Navajo Trail´ and ´Opus I´. What is happily impressive about The Viscounts´ touch is the respectful attitude they have in bringing great ´oldtimers´ to the attention of the youngergeneration. True. the renditions are pure teen-beat. but even the most diehard of the ´they-don´t-play-´em-like-they-used-to´ genre will agree that every original note of the melodies remains and, perhaps even more important, at do the original concepts behind their moods. But don´t get The Viscounts wrong - though they can refashion old favorites with nostalgia, they are completely up with the discotheque times. They are a-go-go all the way. The rhythm tracks here clearly indicate that just about all oof the currently popular novelty steps - and, surely. those to come - fit like a glove into the exciting romps of The Viscounts. The Viscounts hail from New Jersey and have all been professio-nal musicians for several years. The group consists of Bobby Spie-vak, who plays lead guitar, his brother Joe Spievak. the bassist, who also contributes to the group´s arrangements´ Harry Haller- is the sax man. Larry Vecchio plays piano and organ. and the man behind the drums is Clark Smith. Possibly the best tributes one can pay to the sounds of this LP are that it caters extremely well to fun dancefloor demands, and, when you care to sit one out. there is more than enough to listen to - and for. Iry Lichtman Cashbox Magazine
(Charly) 16 tracks ´What Foes Around, Turn Around´ runs on old maxim which still holds true. In music, as in all things to do with fashion, tastes go round in full circle. What was passe last year can well be this year´s in thing. We´ve seen *the return of the mini-skirt and now it´s the turn of 1960´s soul music to get a much deserved resurgence of popularity. Maybe it´s a sign that I´m getting old but — the explosion of rock ´n´ roll onto the scene around 1955 excepted — I can think of no other era or musical style which possessed quite the same measure of excitement and delightful discovery as did ´Sixties Soul. True, there have been many great records in the years since but I can´t imagine ever again feeling confident enough to place a standing order with my local record shop for every single release on not one but half-a-dozen labels, knowing that I´ll like every one of them! Sue, London American, Stateside, President, Jay Boy, Chess. Atlantic, Stax and Tamla Motown, were the much-sought-out UK labels amongst soul fans in those heady days. Now, two decades later, the music is ´coming back strong´ (to quote a Tony Clarke classic from the era) thanks initially to the efforts of such re-issue labels as Charly and, latterly, to the renewed chart status of oldies from the likes of Sam Cooke and Marvin Gaye, thanks to the use of the songs in TV commercials. Clubs up and down the land are playing the classic songs to a whole new audience while the faithful minority (and it isn´t a small one) who have never deserted the music have taken the chance to stock up on fresh copies of their well-worn favourites. I´ve a strong conviction that both groups will find plenty to entertain them in this great album. Birdlegs And Pauline : The British version of the Sue label, run for Island Records by that colourful character, the late Guy Stevens, was *prized by ´60s soul music collectors for unearthing the real rarities from the American RUB scene. Many were great. some were abysmal, all were interesting. ´´Spring´´ was one of the most talked about UK Sue issues, and one of the most obscure in origin (indeed, it wasn´t until sitting down to pen this present sleevenote that I discovered they had an *album issued, on the Cuca label). From that LP´s sleevenote I´ve gleaned the following information! It was the idea of Chicago bluesman Shakey Jake to put the two together — Birdlegs (aka Sidney Banks) and Pauline (a good friend of Pearl Bailey). Cut originally for Cuca. the quirky ´Spring´ was picked up by Ewan Abner (later to be a Motown exec) for release nationally on Vee Jay. Bob And Ear : Men of many names, Bob and Earl first rocked the emergent British disco scene with the emminently danceable ´Harlem Shuffle´ back in 1963 but it wasn´t until re-release in 1969 that it cracked the UK top-ten. Bobby Relf also recorded as Bobby Garrett while his partner Earl Nelson also masqueraded on records — with some success — as Earl Cosby, Jackie Lee and Jay Dee. Just to further clarify things, the original Bob in the duo had been Bobby Byrd. otherwise known as Bobby Day, of ´Rockin´ Robin´ fame! * The original pairing had emerged from the Hollywood Flames. for whom Nelson sang lead on the 1957 hit ´´Buzz Buzz´´, and recorded for Class until 1959 when Relf replaced Byrd. ´Harlem Shuffle´ was originally released in the US by Marc, one of several LA based labels for which they recorded, usually under the aegis of producer Fred Smith and arranger Barry White (later to be a soul superstar) who devised a totally distinctive sound. With the Rolling Stones´ recent cover version having returned that group to its ´60s R&B roots, the time seems ripe for the original ´´Harlem Shuffle´´ to return to the nation´s dance-floors. Barbara Lewis : A product of the Ollie McLoughlin stable, which also included Deon Jackson and the Capitols, Barbara Lewis had an R&B chart-topper in 1963 with the superb ballad ´Hello Stranger´´, leased from McLoughlin´s Carla label by Atlantic, and quickly scored again with ´Baby I´m Yours´ and ´Make Me Your Baby´. Shades Of Blue: Of Shades of Blue I know nothing except that they were a white Detroit based act and that their ´Oh How Happy´ was written by Edwin Starr and was widely performed by British soul acts in the late ´60s. It was released in the UK on Sue. Brenton Wood: Born in Shreveport, Louisiana, on July 26 1941, Los Angeles´ based Brenton Wood wasn´t a one-hit wonder, he was a two-hit wonder! It was Double Shot Records who