Presse - Teil 1 - HEAVY KRAUT! -Wie der Hardrock nach Deutschland kam 1970 - 1976 (2-CD)- Medien-info
Die zweiteilige CD-Dokumentation von Bear Family Records® auf insgesamt 4 CDs mit jeweils einem etwa 96-seitigen illustrierten Begleitbuch beschreibt tiefgründig die Anfänge des Hard Rock in unserem Land, die Versuche von Bands, Musikern, Produzenten und Plattenfirmen, einen eigenen Weg zu gehen, der schließlich mit den Scorpions oder Rammstein Rockmusik aus Deutschland auf die Weltkarte des Genres brachte.
Die zweiteilige CD-Dokumentation von Bear Family Records® auf insgesamt 4 CDs mit jeweils einem etwa 96-seitigen illustrierten Begleitbuch beschreibt tiefgründig die Anfänge des Hard Rock in unserem Land, die Versuche von Bands, Musikern, Produzenten und Plattenfirmen, einen eigenen Weg zu gehen, der schließlich mit den Scorpions oder Rammstein Rockmusik aus Deutschland auf die Weltkarte des Genres brachte.
Exzellentes Reissue
Strange Pleasure, Jimmie Vaughans meisterhafte erste Soloplatte nach dem Ende der Fabulous Thunderbirds, teilt das Schicksal so vieler Alben aus den 90s, Sie ist selten, und wer ein Exemplar der ursprüinglich 1994 erschienenen LP haben möchte, muss clafiir heute tief in die Tasche greifen. Der Discogs-Schnitt betragt 87 Euro, der Preis der aktuell tatsachlich angebotenen Exemplare liegt weit darüber.
Abhilfe schafft die exzellente Reissue auf dem Label Bear Family, das Strange Pleasure zum ersten Mal überhaupt in einer nummerierten Auflage von 1.500 Stuck wieder in die Laden bringt.
Im Gegensatz zum Original auf Epic hat das auf Wiederveroffentlichungen spezialisierte deutsche Indielabel die Songs auf vier LP-Seiten verteilt, setzt auf 45 Umdrehungen pro Minute und macht den einst von Nile Rodgers eingerichteten und von Bob Ludwig bei Gateway Mastering in Portland perfekt ausbalancierten Klassiker damit zu einem wahren Hörgenuss. Auch die Pressqualitat der beiden schweren LPs lasst keine Wünsche offen und tragt dazu bei, dass die an Lightnin' Hopkins und Albert Collins geschulten Licks in Songs wie Just Like Putty überwältigend klingen. Die Höhepunkte unter ausnahmslos grossartigem Material setzen das akustische Six Strings Down und Love The World, das Vaughan gemeinsam mit Dr. John geschrieben hat, der auch als Gastmusiker an Piano und Bass mit von der Partie ist... (Phillipp Schmatloch - Mint Magazin 11/23)
Strange Pleasure, Jimmie Vaughans meisterhafte erste Soloplatte nach dem Ende der Fabulous Thunderbirds, teilt das Schicksal so vieler Alben aus den 90s, Sie ist selten, und wer ein Exemplar der ursprüinglich 1994 erschienenen LP haben möchte, muss clafiir heute tief in die Tasche greifen. Der Discogs-Schnitt betragt 87 Euro, der Preis der aktuell tatsachlich angebotenen Exemplare liegt weit darüber.
Abhilfe schafft die exzellente Reissue auf dem Label Bear Family, das Strange Pleasure zum ersten Mal überhaupt in einer nummerierten Auflage von 1.500 Stuck wieder in die Laden bringt.
Im Gegensatz zum Original auf Epic hat das auf Wiederveroffentlichungen spezialisierte deutsche Indielabel die Songs auf vier LP-Seiten verteilt, setzt auf 45 Umdrehungen pro Minute und macht den einst von Nile Rodgers eingerichteten und von Bob Ludwig bei Gateway Mastering in Portland perfekt ausbalancierten Klassiker damit zu einem wahren Hörgenuss. Auch die Pressqualitat der beiden schweren LPs lasst keine Wünsche offen und tragt dazu bei, dass die an Lightnin' Hopkins und Albert Collins geschulten Licks in Songs wie Just Like Putty überwältigend klingen. Die Höhepunkte unter ausnahmslos grossartigem Material setzen das akustische Six Strings Down und Love The World, das Vaughan gemeinsam mit Dr. John geschrieben hat, der auch als Gastmusiker an Piano und Bass mit von der Partie ist... (Phillipp Schmatloch - Mint Magazin 11/23)
Beinahe zwanzig Jahre später bringen „Bear Family Records“ dieses kleine, längst verschollen geglaubte Juwel frisch gemastert als hochwertiges 180g-Vinyl heraus. Dabei überraschen Richard Kersten (Gitarren, Gesang) und Marcus Darius Ghoreischian (Schlagzeug) samt ihren Mitmusikern Robby Matthes (Bass, Gesang), Glenn Turner (Gitarren, Gesang) sowie Frederik Faint (Keyboards) mit einem klaren Sound, der natürlich ihr eigenes Charisma, ihren eigenen Gitarrenklang und Gesang offenbart, aber dennoch unverkennbar den Spirit der BEATLES am Leben hält. Mal schaut der Rock oder Pop, ein anderes Mal der Beat und die Psychedelia hervor.
Man muss es hören, um es zu glauben: 2006 nur für private Zwecke auf CD veröffentlicht, erscheint das Werk nun erstmals auf exquisit klingendem Vinyl und schließt die Lücke zwischen Oasis und The Analogues, wenn es sie denn je gab, auf beeindruckende Weise. Ein Geniestreich! INGO SCHEEL
Major record companies like Sony’s Legacy, UMI, and Warner’s Rhino have all produced great box sets, but nobody can match the ones from Germany’s Bear Family label, which has been turning out meticulously researched, beautifully packaged, anVault archaeology doesn’t get any better than this. Offering 472 tracks on 16 discs, plus a massive hardcover book stuffed with fascinating details, R&B in D.C. (1940-1960) delivers what its title promises, documenting so many roots and branches of the musical scene in the nation’s capital that it’s easy to feel overwhelmed by this massive, beautifully executed project. But don’t be intimidated. Dive in anywhere to discover exciting performers, from a handful of stars to scads of lesser-knowns, and note the surprisingly good sound, despite many songs being dubbed from disc in the absence of master tapes.d mindbogglingly comprehensive anthologies for nearly half a century.
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
Various - History R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin’ Rhythm and more… The Washington Post
When we listen to a recording of an old song — say, the D.C. nightclub semi-fixture Eva Foster singing “You’ll Never Know” roughly 68 years ago — something excellent happens: the air that surrounds us shakes the same way it shook in 1953. Is there anything else like it? Old music might plunge our imaginations into the past, but more tangibly, it changes the physical reality directly outside of our heads. Listening to an old song isn’t a revisitation. It’s a material reenactment. Then happens now.
A sweeping and scrupulous new boxed-set, “R&B in DC 1940-60,” does this little trick 472 times. Compiled and produced by music historian, DJ and record collector Jay Bruder, and released by the German label Bear Family Records, the set features more than 20 hours of blues, doo-wop, jazz, classic R&B, proto-rock-and-roll and other hybrid styles of Black dance music made in Washington decades ago, conjuring the sound of a largely vanished city in startling detail.
The “R&B in DC 1940-1960” box set features more than 20 hours of tunes. (Bear Family Records)
How startling? “Beyond painstaking” probably sells Bruder short. The 352-page coffee table tome anchoring this set examines the scene on a granular level, with Bruder chasing down every scrap of lore until the trail fades into the mist of unknowability. Having scoured old newspaper clips, copyright records, studio and label paperwork, Yellow Pages advertisements and more, he maps out a teeming network of high schools, churches, nightclubs, recording studios, record labels, radio stations and television programs that made this scene pulse for two decades.
When we listen to a recording of an old song — say, the D.C. nightclub semi-fixture Eva Foster singing “You’ll Never Know” roughly 68 years ago — something excellent happens: the air that surrounds us shakes the same way it shook in 1953. Is there anything else like it? Old music might plunge our imaginations into the past, but more tangibly, it changes the physical reality directly outside of our heads. Listening to an old song isn’t a revisitation. It’s a material reenactment. Then happens now.
A sweeping and scrupulous new boxed-set, “R&B in DC 1940-60,” does this little trick 472 times. Compiled and produced by music historian, DJ and record collector Jay Bruder, and released by the German label Bear Family Records, the set features more than 20 hours of blues, doo-wop, jazz, classic R&B, proto-rock-and-roll and other hybrid styles of Black dance music made in Washington decades ago, conjuring the sound of a largely vanished city in startling detail.
The “R&B in DC 1940-1960” box set features more than 20 hours of tunes. (Bear Family Records)
How startling? “Beyond painstaking” probably sells Bruder short. The 352-page coffee table tome anchoring this set examines the scene on a granular level, with Bruder chasing down every scrap of lore until the trail fades into the mist of unknowability. Having scoured old newspaper clips, copyright records, studio and label paperwork, Yellow Pages advertisements and more, he maps out a teeming network of high schools, churches, nightclubs, recording studios, record labels, radio stations and television programs that made this scene pulse for two decades.
Major record companies like Sony’s Legacy, UMI, and Warner’s Rhino have all produced great box sets, but nobody can match the ones from Germany’s Bear Family label, which has been turning out meticulously researched, beautifully packaged, and mindbogglingly comprehensive anthologies for nearly half a century.
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
Various - History R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin’ Rhythm and more… HE SECOND DISC
Various Artists, R&B in DC: 1940-1960 (Bear Family)
R&B in D.C. 1940-1960 is Bear Family’s latest treasure trove: a 16-CD box set comprehensively surveying two decades of American regional music as only Bear Family can – with 472 tracks (that’s around 20 hours of music!) and a 352-page hardcover book. It spotlights the early days of future marquee artists including Marvin Gaye, Billy Stewart, and Don Covay (all of whom spent their early days on the D.C. scene) as well as dozens of artists who never broke out beyond local stages but are nonetheless worthy of rediscovery. The box is a snapshot of the many sounds percolating in broader American culture during those years – not just “R&B” per se but swing, doo-wop, rock-and-roll, and soul, too. Master tapes have been utilized when possible (including the 1951 RCA Victor sessions by Tribble, Frank Motley, The Heartbreakers, and Jimmy McPhail) but hundreds of recordings for which no master tapes survive have been transferred and restored by Doug Pomeroy especially for this release. This one-of-a-kind set is limited to just 1,500 copies worldwide. Click here for the full track listing.
Various Artists, R&B in DC: 1940-1960 (Bear Family)
R&B in D.C. 1940-1960 is Bear Family’s latest treasure trove: a 16-CD box set comprehensively surveying two decades of American regional music as only Bear Family can – with 472 tracks (that’s around 20 hours of music!) and a 352-page hardcover book. It spotlights the early days of future marquee artists including Marvin Gaye, Billy Stewart, and Don Covay (all of whom spent their early days on the D.C. scene) as well as dozens of artists who never broke out beyond local stages but are nonetheless worthy of rediscovery. The box is a snapshot of the many sounds percolating in broader American culture during those years – not just “R&B” per se but swing, doo-wop, rock-and-roll, and soul, too. Master tapes have been utilized when possible (including the 1951 RCA Victor sessions by Tribble, Frank Motley, The Heartbreakers, and Jimmy McPhail) but hundreds of recordings for which no master tapes survive have been transferred and restored by Doug Pomeroy especially for this release. This one-of-a-kind set is limited to just 1,500 copies worldwide. Click here for the full track listing.
Various - History R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin’ Rhythm and more… No Depression
THE READING ROOM: Box Set’s Book and CDs Explore Washington, DC’s R&B HistoryWhen we think about R&B and soul, Muscle Shoals, Memphis, Detroit, and Philadelphia come immediately to mind as the homes of the sweet grooves that filled dance floors and clubs. The records of William Bell, Carla Thomas, Percy Sledge, Aretha Franklin, Marvin Gaye, Gladys Knight, Billy Paul, and The Spinners, among many others, stayed at the top of the charts in the ’60s and ’70s, each single or album defining an evolving sound identified with the particular city in which the music was recorded at now-iconic studios.Washington, DC, doesn’t come to mind as readily, though, when we think about soul music and the rise of R&B. While Washington had its stars, such as Don Covay, Marvin Gaye, The Clovers, and Van McCoy, their success came after they had left DC and were associated with other labels in other cities. A monumental new book by music researcher and radio host Jay Bruder — with editorial assistance from John Broven (author of Rhythm and Blues in New Orleans), Dan Kochakian (contributor and editor at Blues and Rhythm magazine), Colin Escott (author of Hank Williams: The Biography), and longtime Washington-area DJ and radio program director Dick Lillard — corrects this oversight.
THE READING ROOM: Box Set’s Book and CDs Explore Washington, DC’s R&B HistoryWhen we think about R&B and soul, Muscle Shoals, Memphis, Detroit, and Philadelphia come immediately to mind as the homes of the sweet grooves that filled dance floors and clubs. The records of William Bell, Carla Thomas, Percy Sledge, Aretha Franklin, Marvin Gaye, Gladys Knight, Billy Paul, and The Spinners, among many others, stayed at the top of the charts in the ’60s and ’70s, each single or album defining an evolving sound identified with the particular city in which the music was recorded at now-iconic studios.Washington, DC, doesn’t come to mind as readily, though, when we think about soul music and the rise of R&B. While Washington had its stars, such as Don Covay, Marvin Gaye, The Clovers, and Van McCoy, their success came after they had left DC and were associated with other labels in other cities. A monumental new book by music researcher and radio host Jay Bruder — with editorial assistance from John Broven (author of Rhythm and Blues in New Orleans), Dan Kochakian (contributor and editor at Blues and Rhythm magazine), Colin Escott (author of Hank Williams: The Biography), and longtime Washington-area DJ and radio program director Dick Lillard — corrects this oversight.
Various - History R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin’ Rhythm and more… americanahighways.org
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
One indication of Bear Family’s obsession with comprehensiveness is that the book opens with a disclaimer that almost reads like an apology: “No attempt was made to cover every record by every artist featured. The list of included artists is extensive but by no means complete.” True, but the compilers can probably be forgiven for any omissions since as previously noted, they did manage to fit in nearly 500 songs. The playing time exceeds 20 hours so you can literally rock around the clock with almost no repeats.
The latest, R&B in DC: 1940–1960, is a case in point. Featuring 472 songs on 16 CDs, this numbered, limited-edition box brilliantly evokes the rhythm and blues scene in Washington, D.C., over two decades. It comes with a 352-page, LP-sized hardcover book that contains well-informed essays about the music, the artists, the record labels, the radio stations, and the clubs as well as notes about every song, a bibliography, a ton of rare period photos, and more.
Compiling the material for the coffee-table book reportedly took about seven years, and one can only imagine what must have been required to track down, license, and restore all this old music, much of which was rescued from extremely rare 78 and 45 rpm records. The list of acknowledgments to researchers, DJs, collectors, record dealers, and others is understandably long.
One indication of Bear Family’s obsession with comprehensiveness is that the book opens with a disclaimer that almost reads like an apology: “No attempt was made to cover every record by every artist featured. The list of included artists is extensive but by no means complete.” True, but the compilers can probably be forgiven for any omissions since as previously noted, they did manage to fit in nearly 500 songs. The playing time exceeds 20 hours so you can literally rock around the clock with almost no repeats.
Press Archive - R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop - Washingtonian magazine
...DC's R&B scene didn't produce a huge number of records that hit the national charts. But Bruder's box set, with its extensive con textual info and illuminating photos and posters, captures just how vital it was as a local phenomenon. "This particular era of music, it was pure-it was fun," says Motley's grandson Morris Clarke, who was close to the musician when he was growing up in Durham. (Motley died in 1998.) "They weren't paid a lot of money to do this. This was real passion."
The collection also offers a cohesive narrative ofa time and place and culture that-as participants pass away and demographic change erodes the city's institutional memory-is fast fading. "1 want everyone to learn about these people and the community that nurtured them in what was a pretty difficult period for the AfricanAmerican community in Washington, DC," Bruder says. "These folks, they accomplished a lot. And no, they didn't have a ton ofnational hits. But they made sorne great music."
...DC's R&B scene didn't produce a huge number of records that hit the national charts. But Bruder's box set, with its extensive con textual info and illuminating photos and posters, captures just how vital it was as a local phenomenon. "This particular era of music, it was pure-it was fun," says Motley's grandson Morris Clarke, who was close to the musician when he was growing up in Durham. (Motley died in 1998.) "They weren't paid a lot of money to do this. This was real passion."
The collection also offers a cohesive narrative ofa time and place and culture that-as participants pass away and demographic change erodes the city's institutional memory-is fast fading. "1 want everyone to learn about these people and the community that nurtured them in what was a pretty difficult period for the AfricanAmerican community in Washington, DC," Bruder says. "These folks, they accomplished a lot. And no, they didn't have a ton ofnational hits. But they made sorne great music."
Jay Bruder Interview 26.07.2021
Ich bin Todd L. Burns, und willkommen bei Music Journalism Insider, einem Newsletter über Musikjournalismus. Klicken Sie hier, um ihn zu abonnieren!
Jay Bruder ist ein Musikforscher und Autor. Zusätzlich zu einer wöchentlichen Radioshow über Musik nach dem Zweiten Weltkrieg für BluegrassCountry.org arbeitet Jay an Recherchen für Wiederveröffentlichungen. Sein neuestes Projekt erscheint später in diesem Jahr: ein tief recherchiertes Box-Set mit dem Titel R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin' Rhythm und mehr...*
Ich bin Todd L. Burns, und willkommen bei Music Journalism Insider, einem Newsletter über Musikjournalismus. Klicken Sie hier, um ihn zu abonnieren!
Jay Bruder ist ein Musikforscher und Autor. Zusätzlich zu einer wöchentlichen Radioshow über Musik nach dem Zweiten Weltkrieg für BluegrassCountry.org arbeitet Jay an Recherchen für Wiederveröffentlichungen. Sein neuestes Projekt erscheint später in diesem Jahr: ein tief recherchiertes Box-Set mit dem Titel R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin' Rhythm und mehr...*
The Beat of Our Hearts: Bear Family Collects Definitive Survey of “R&B in D.C. 1940-1960” Featuring Early Recordings of Marvin Gaye, Don Covay, Billy Stewart
JUNE 22, 2021 BY JOE MARCHESE LEAVE A COMMENT
Washington, D.C. is associated with a great many things…but R&B? Leave it to German label Bear Family to take the emphasis off politics to uncover a lost chapter of the American capital’s rich story. R&B in D.C. 1940-1960 is the name of the upcoming LP-size, 16-CD box set comprehensively surveying two decades of regional music as only Bear Family can – with 472 tracks (that’s around 20 hours of music) and a 352-page hardcover book. This one-of-a-kind set is due on September 3 and limited to just 1,500 copies worldwide. It spotlights the early days of future marquee artists including Marvin Gaye, Billy Stewart, and Don Covay (all of whom spent their early days on the D.C. scene) as well as dozens of artists who never broke out beyond local stages but are nonetheless worthy of rediscovery. The box is a snapshot of the many sounds percolating in broader American culture during those years – not just “R&B” per se but swing, doo-wop, rock-and-roll, and soul, too.
JUNE 22, 2021 BY JOE MARCHESE LEAVE A COMMENT
Washington, D.C. is associated with a great many things…but R&B? Leave it to German label Bear Family to take the emphasis off politics to uncover a lost chapter of the American capital’s rich story. R&B in D.C. 1940-1960 is the name of the upcoming LP-size, 16-CD box set comprehensively surveying two decades of regional music as only Bear Family can – with 472 tracks (that’s around 20 hours of music) and a 352-page hardcover book. This one-of-a-kind set is due on September 3 and limited to just 1,500 copies worldwide. It spotlights the early days of future marquee artists including Marvin Gaye, Billy Stewart, and Don Covay (all of whom spent their early days on the D.C. scene) as well as dozens of artists who never broke out beyond local stages but are nonetheless worthy of rediscovery. The box is a snapshot of the many sounds percolating in broader American culture during those years – not just “R&B” per se but swing, doo-wop, rock-and-roll, and soul, too.
https://www.bear-family.de/bear-family-records-blog/