Ricky Nelson – Hello Mary Lou + Travelin‘ Man (1961)

USFrontCover1Eric Hilliard Nelson (May 8, 1940 – December 31, 1985), known professionally as Ricky Nelson, was an American musician, songwriter and actor. From age eight he starred alongside his family in the radio and television series The Adventures of Ozzie and Harriet. In 1957, he began a long and successful career as a popular recording artist. The expression “teen idol” was first coined to describe Nelson, and his fame as both a recording artist and television star also led to a motion picture role co-starring alongside John Wayne, Dean Martin and Angie Dickinson in Howard Hawks’s western feature film Rio Bravo (1959). He placed 53 songs on the Billboard Hot 100, and its predecessors, between 1957 and 1973, including “Poor Little Fool” in 1958, which was the first number one song on Billboard magazine’s then-newly created Hot 100 chart. He recorded 19 additional top ten hits and was inducted into the Rock and Roll Hall of Fame on January 21, 1987. In 1996 Nelson was ranked No. 49 on TV Guide’s 50 Greatest TV Stars of All Time.

Ricky Nelson01

Nelson began his entertainment career in 1949, playing himself in the radio sitcom series, The Adventures of Ozzie and Harriet. In 1952, he appeared in his first feature film, Here Come the Nelsons. In 1957, he recorded his first single (“Im Walkin’ b/w “A Teenagers Romance”, Verve 10047X4S), debuted as a singer on the television version of the sitcom, and released the No. 1 album titled Ricky. In 1958, Nelson released his first #1 single, “Poor Little Fool”, and in 1959 received a Golden Globe nomination for “Most Promising Male Newcomer” after starring in Rio Bravo. A few films followed, and when the television series was cancelled in 1966, Nelson made occasional appearances as a guest star on various television programs. In his twenties, he moved away from the pop music of his youth, and began to perform in a more country rock style. After recording several albums with mostly session musicians, most of which flopped, he formed the Stone Canyon Band in 1969 and experienced a career resurgence, buoyed by the live album In Concert at the Troubadour, 1969 and had a surprise hit with 1972’s “Garden Party”, which peaked at number six on the Billboard Hot 100. His comeback was short-lived, however, as his record label was bought out and folded, and his followup albums were not well promoted by his new label. He continued to perform live and take small television roles through the 1970s, though his label dropped him by the end of the decade. He released two more albums, with unimpressive results, before his death in a plane crash on New Year’s Eve, 1985.

Ricky Nelson02

Nelson was married once, to Sharon Kristin Harmon, from 1963 until their divorce in 1982. They had four children: actress Tracy Nelson, twin sons and musicians Gunnar and Matthew, and actor Sam.

Nelson died in a plane crash on New Year’s Eve 1985, flying from Guntersville, Alabama, to Dallas, Texas, for a concert. The plane he was on, a Douglas DC-3, had a history of mechanical problems. All seven passengers, including Blair, died. Only the two pilots survived.

Ricky Nelson03

Nelson’s funeral took place at the Church of the Hills, Forest Lawn Hollywood Hills Cemetery, on January 6, 1986, and he was privately buried in the Forest Lawn, Hollywood Hills Cemetery, in Los Angeles. His estate was bequeathed to his children, and he did not provide for ex-wife Kris Nelson. (wikipedia)

Ricky Nelson04

And here´s one of his greatest hits … a worldwide hit …

… enjoy this little trip in the early Sixties.

Alternate frontcovers:

Ricky Nelson (vocals)
a bunch of unknown studio musicians

The German edition:
German Edition

01. Hello Mary Lou (Pitney) 2.31
02. Travelin‘ Man (Fuller) 2.30



Ricky Nelson05

Billy Vaughan – Berlin Melody (1961)

FrontCover1Richard Smith Vaughn (April 12, 1919 – September 26, 1991), known as Billy Vaughn, was an American singer, multi-instrumentalist, orchestra leader, and A&R man for Dot Records.

Vaughn was born in Glasgow, Kentucky, United States, where his father, Alvis Radford Vaughn, was a barber who loved music and inspired Billy to teach himself to play the mandolin at the age of three, while suffering from measles. He went on to learn a number of other instruments.

In 1941, Vaughn joined the United States National Guard for what had been planned as a one-year assignment, but when World War II broke out, he was in for the duration as a valued musician and composer at Camp Shelby, Mississippi. Major General Daniel I. Sultan decided that Vaughn was too valuable to the base’s Thirty-Eighth Division big band, and kept him at Camp Shelby for the duration of the war. He decided to make music a career when he was discharged from the army at the end of the war, and on the GI Bill, attended Western Kentucky State College, now known as Western Kentucky University, majoring in music composition.

BillyVaughan02He had apparently learned barbering from his father, because he did some while studying at Western Kentucky to support himself financially, when he was not able to get jobs playing the piano at local night clubs and lounges. While he was a student there, three other students, Jimmy Sacca, Donald McGuire, and Seymour Spiegelman, who had formed a vocal trio, the Hilltoppers, recruited Vaughn to play the piano with them. He soon added his voice to theirs, converting the trio to a quartet. As a member of the group, he also wrote their first hit song, “Trying”, which charted in 1952.

In 1954, he left the group to join Dot Records in Gallatin, Tennessee, as music director. He subsequently formed his own orchestra which had a hit single in that same year with “Melody of Love.” It sold over one million copies, and was awarded a gold disc. He went on to have many more hits over the next decade and a half, and, based purely on chart successes, was the most successful orchestra leader of the rock era.

Vaughn charted a total of 42 singles on the Billboard charts, often based on the sound of two alto saxophones. He also charted thirty six albums on the Billboard 200, beginning with 1958’s Sail Along Silv’ry Moon and ending with 1970’s Winter World of Love. He also had nineteen Top 40 hits in (Germany), beginning with the chart-topping “Sail Along, Silv’ry Moon”, also a gold record, which was a cover of a 1937 Bing Crosby hit. He had two more number ones in Germany: “La Paloma” and “Wheels” (all three were reportedly million sellers).[2] Billy Vaughn’s recording of “Wheels” was No. 1 for 14 weeks in Germany (Hit Bilanz) as well as No. 1 in India, New Zealand, and Italy (Billboard hits of the world, various issues 1961). Vaughn also charted in Australia, Latin America, and Japan. “Pearly Shells” was a major success in Japan. Vaughn’s tours of that country began about the time “Pearly Shells” was a hit in 1965.


Many songs which were not US hits or even singles releases there, were major hits in other countries. These included “Lili Marlene”, “Zwei Gitarren am Meer”, “Blueberry Hill” (Germany), and “Greenfields”. Also successful were “Song of Peace”, “It’s a Lonesome Old Town” (Japan), “Michelle” (No 1 in Argentina and Malaysia), “Mexico” (No. 1 in the Philippines), and “Bonanza” (a major success in Brazil and Italy [Billboard Hits of the World, 1960s]) plus “Theme from the Dark at the Top of the Stairs” (various Latin American countries). The album La Paloma was a success throughout Latin America. He also had a number one album in Germany in the early 1980s with Moonlight Melodies, which consisted of 20 of Billy’s biggest hits (original Dot recordings, original LP notes and credits).

The Billy Vaughn Orchestra began touring in 1965 with numerous sell-out tours throughout Japan, Brazil, and South Korea.


In the late 1960s and early 1970s, Vaughn lived in Palm Springs, California. He died of peritoneal mesothelioma at Palomar Hospital in Escondido, California, on September 26, 1991, aged 72. He and his wife Marion are buried at the Oak Hill Memorial Park in Escondido.

On June 25, 2019, The New York Times Magazine listed Billy Vaughn among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[6] The Billy Vaughn Orchestra, co-owned and managed by his son, Richard Smith Vaughn Jr., is still a touring big band. The Billy Vaughn Orchestra, produced by the Tate Corporation, Japan, toured Japan in 2013, 2014, and again in 2018 to sell-out audiences. (wikipedia)


And this is a very nice Easy Listening album from this period, including a great gosepl tune called “Michael” and the German Folk Song “Muss i denn” (“Wooden Heart”); another hightlights are “Blue Moon” and “Serenade Of The Bells”.


The Billy Vaughan Orchestra


01. Berlin Melody (Gaze) 2.27
02. Michael (Fisher) 2.21
03. Mexico (Bryant) 1.548
04. Wooden Heart (Weisman/Kaempfert/Wise/Twomey) 2.09
05. Together (DeSylva/Brown/Henderson) 2.03
06. It Happened In Adano (Pelosi/Fields/Feltz) 2.24
07. Autumn Love Songs (Version 2) (Vaughn/Wood)
08. Blue Tomorrow (Morris/Griffin) 2.20
09. Clair de Lune (Debussy/Rogers) 2.10
10. I Can’t Help It (Williams) 2.12
11. Blue Moon (Version 2) (Hart/Rodgers) 2.10
12. Till I Waltz Again With You (Version 2) (Prosen) 2.10
13. Serenade Of The Bells (Goodhart/Urbano/Twomey) 2.36
14. Come September (Darin) 2.28



BillyVaughan04Billy Vaughn (April 12, 1919 – September 26, 1991)

Various Artists – English Folk Dances (1974)

FrontCover1This album was produced by theEnglish Folk Dance and Song Society

The English Folk Dance and Song Society  was formed in 1932 when two organisations merged: the Folk-Song Society and the English Folk Dance Society. The EFDSS, a member-based organisation, was incorporated as a company limited by guarantee (no. 297142) in 1935 and became a registered charity (no. 305999) in England and Wales in 1963.

The Folk-Song Society, founded in London in 1898, focused on collecting and publishing, primarily folk songs of Britain and Ireland although there was no formal limitation. Participants included: Lucy Broadwood, Kate Lee, Cecil Sharp, Percy Grainger, Ralph Vaughan Williams, George Butterworth, George Barnet Gardiner, Henry Hammond, Anne Gilchrist and Ella Leather.

The English Folk Dance Society was founded in 1911 by Cecil Sharp. Maud Karpeles was a leading participant. Its purpose was to preserve and promote English folk dances in their traditional forms, including Morris and sword dances, traditional social dances, and interpretations of the dances published by John Playford. The first secretary of the society was Lady Mary Hepburn-Stuart-Forbes-Trefusis; Trefusis Hall in the EFDSS HQ, Cecil Sharp House, is named after her.

One of the greatest contributions that the EFDSS made to the folk movement, both dance and song, was the folk festival, starting with the Stratford-upon-Avon Festival in the 1940s and continuing with festivals in Whitby, Sidmouth, Holmfirth, Chippenham and elsewhere.

English Folk Dance and Song Society02

Since 1936 the EFDSS has published English Dance & Song at least four times a year. This has become the longest-established magazine devoted to folk music, dance and song in the country. English Dance & Song is aimed at stimulating the interest of the membership of the EFDSS, as well as the wider folk music and dance community.

Their regular scholarly publication is Folk Music Journal, published annually in December, which was formerly entitled the Journal of the English Folk Dance and Song Society until 1965. The work continues the earlier journals of the two societies: Journal of the Folk-Song Society, 1899–1931;[9] Journal of the English Folk Dance Society 191431.
Recent developments
Cecil Sharp House in Regent’s Park, London, is home to the English Folk Dance and Song Society

In 1998, with the folk movement strongly supported by a number of other organisations and the seeds planted by EFDSS thriving, the EFDSS altered its strategy to focus on education and archiving, with its primary goal the development of the Vaughan Williams Memorial Library as the country’s national archive and resource centre for folk music, dance and song.

English Folk Dance and Song Society (Inside)

In 2011 the society entered into a joint commission with Shrewsbury Folk Festival to create the Cecil Sharp Project, a multi-artist residential commission to create new works based on the life and collecting of Cecil Sharp. The project took place in March 2011, the artists involved being: Steve Knightley, Andy Cutting, Leonard Podolak, Jim Moray, Jackie Oates, Caroline Herring, Kathryn Roberts and Patsy Reid.

In 2013, EFDSS launched The Full English, an ongoing archive project supported by the Heritage Lottery Fund, The Folklore Society, the National Folk Music Fund and the English Miscellany Folk Dance Group. This free and searchable resource of 44,000 records and over 58,000 digitised images is the world’s biggest digital archive of traditional music and dance tunes.

As well as folk music, the EFDSS is home to a number of performance artists, providing a regular performance platform for acts including the Ukulele Orchestra of Great Britain, the Massive Violins and the Swingle Singers. (wikipedia)


There is a huge variety of dance associated with English folk music, some of it quite alien to modern culture. Folk music was either written as song or for dancing, and the dances have deep roots in the social history of England, as well as offering an insight into agriculture, industry and cultural diversity. (musicworkshopcompany.wordpress.com)

And here are 15 songs from the past (recorded in 1958 and 1961; the musical leader was Nan Fleming-Williams), but we should never forgot, that this music inspüired a lot auf Britis Folk-Rock Bands like Fairport Convention and much miore !

Enjoy this trip in the past !



McBain’s Country Dance Band:
01. Durham Reel 1.38
02. Waltz Country Dance 5.03
03. The Waves Of Troy 3.56
04. Haymaker’s Jig 2.40
05. The Road To California 3.48
06. The Steamboat 3.38
07. Margaret’s Waltz 3.01

Jack Armstrong And His Northumbrian Barnstormers:
08. Drops Of Brandy 2.58
09. Pins And Needles 3.13
10. The Sylph 3.13
11. The Triumph 3.05

The Country Dance Band:
12. The Rifleman 3.33
13. Wiltshire Reel 1.47
14. Dorset Triumph 3.12
15. Stoke Golding Country Dance 3-36

All songs: Traditional




English Folk Dance and Song Society01

Oscar Peterson Trio – Live In Belgrad 1961 (2008)

FrontCover1Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson’s speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson’s distinctive playing formed during the mid- to late ’40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn’t evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music. As with Johnny Hodges and Thelonious Monk, to name two, Peterson spent his career growing within his style rather than making any major changes once his approach was set, certainly an acceptable way to handle one’s career. Because he was Norman Granz’s favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson made an incredible number of albums. Not all are essential, and a few are routine, but the great majority are quite excellent, and there are dozens of classics. (by Scott Yanow)

Oscar Peteron Trio 1961_01

Oscar Petersons relationship with Ray Brown had begun in 1949, when both performed together at Carnegie Hall during one of Norman Granzs Jazz at the Philharmonic concerts. From 1950 to 1952, Granz would often record the two musicians in a duo format, or even in trio, with Barney Kessel or Irving Ashby on guitar. From then on both would play and record in many formats, under Petersons name, multiple JATP concerts or backing such stars as Billie Holiday, Charlie Parker, Ella Fitzgerald (who was Browns wife), Lester Young or Ben Webster, to name just a few.

This release presents a rarely heard concert by Oscar Peterson in Yugoslavia. Brilliantly recorded, it is a perfect example of the interaction and mutual understanding of the Peterson – Brown – Thigpen unit, which would break apart in mid-1965. (

Oscar Peteron01

Ray Brown (bass)
Oscar Peterson (piano)
Ed Thigpen (drums)

Alternate frontcover:

01. Les Feuillles Mortes (Autumn Leaves) (Prévert/Mercer/Kosma) 5.33
02. Tenderly (Lawrence/Gross) 7.42
03. Where Do We Go From Here (Robertson) 7.43
04. Cubana Chant  (Bryant) 7.47
05. Waltz For Debbie (Evans) 5.35
06. It Ain’t Necessarily So (Gershwin) 4.35
07. I Want To Be Here (Getz) 8.22
08. The Golden Striker (Lewis) 7.31

Oscar Peteron Trio 1964_01


More Oscar Peterson:


Oscar Peteron02
Oscar Emmanuel Peterson (August 15, 1925 – December 23, 2007)


Art Taylor – A.T.’s Delight (1961)

FrontCover1A.T.’s Delight is an album by American drummer Art Taylor recorded and released in 1960, his only recording as a leader for Blue Note. (by wikipedia)

Although Art Taylor was one of the busiest modern second-generation jazz drummers, working in the studio with Coleman Hawkins, Donald Byrd, John Coltrane and many others, he only released five albums under his own name, of which A.T.’s Delight was the third. And a delight it is indeed, bright and percussive, and when conga player Carlos “Patato” Valdes joins Taylor and pianist Wynton Kelly and bassist Paul Chambers on three cuts (Thelonious Monk’s “Epistrophy,” “Move” and a Taylor calypso-inflected original called “Cookoo and Fungi”), the rhythm pocket opens into a deep blue sea for the horn men (Stanley Turrentine on tenor sax and Dave Burns on trumpet). “Move” does exactly that, it moves, and at a blistering pace. Monk’s “Epistrophy,” thanks in part to Valdes, reveals its rumba roots, and has never sounded brighter. The seldom-covered Coltrane composition “Syeeda’s Song Flute” seems likewise refreshed and revived. The lone Taylor original, the driving “Cookoo and Fungi,” is as sharp and alert is a kitten waking from a nap in the spring sun, and Taylor’s drum solo is crisp, efficient and slides seamlessly into the calypso-informed main theme. A.T.’s Delight is a solid outing, with a wonderfully nervous but completely focused energy. (by Steve Leggett)

ArtTaylor01When this disc first came out on Blue Note it passed by virtually unnoticed when, in reality, it is one of the very best of their issues and just what the label was about. There are no prima donnas here but instead a very fine example of the jazz being played in New York at the time. The band is led by Art Taylor, a fine vigorous but not overbearing drummer, and includes Stanley Turrentine, Wynton Kelly, Paul Chambers and, on trumpet, the little known veteran Dave Burns. On three tracks Carlos ‘Patato’ Valdes is added on conga. Turrentine was at the start of a career that made him a big name, and here displays his combination of a natural blues feeling, strong swing, big tone and attractive melodic lines. He really was a remarkable player and here on top form. Wynton Kelly was, as ever, one of the very best of accompanists (and soloists) whose lines dance along, and Chambers, probably the bassist of choice for this type of gig, with his powerful swinging lines and dexterous solo work. The drummer, by this time, had become a relaxed and swinging drummer at home in all sorts of environments.

Of the two surprise packages Dave Burns plays some clean lined trumpet with some Dizzy influence. He had played with Dizzy in the late forties, reappeared and played a little in the early fifties with such as James Moody and was then recorded occasionally by Blue Note in the early sixties on this and with such others as Leo Parker. Shortly afterwards, after fifteen years of consistent non recognition, he left music completely. Why so good a trumpeter could remain so obscure, I do not know. Valdes plays on ‘Epistrophy’, ‘Move’ and ‘Cookoo and Fungi’ on which latter tune Burns and Kelly drop out and a West Indian atmosphere is created. ‘Epistrophy’ is a remarkable performance in which the use of the conga drum changes the rhythmic impetus of the tune but still leaves it as totally Monk’s music.
One to get! (by an amazon customer)


Dave Burns (trumpet)
Paul Chambers (bass)
Wynton Kelly (piano)
Art Taylor (drums)
Stanley Turrentine (saxophone)
Carlos “Patato” Valdes (percussion)


01. Syeeda’s Song Flute (Coltrane) 6.35
02. Epistrophy (Clarke/Monk) 6.52
03. Move (Best) 5.47
04. High Seas (Dorham) 6.48
05. Cookoo And Fungi (Taylor) 5.32
06. Blue Interlude (Dorham) 5.21



ArtTaylor02Arthur S. Taylor, Jr. (April 6, 1929 – February 6, 1995)

Wanda Jackson – Right Or Wrrong (1961)

FrontCover1Wanda Lavonne Jackson (born October 20, 1937) is a retired American singer, songwriter, pianist and guitarist who had success in the mid-1950s and 1960s as one of the first popular female rockabilly singers, and a pioneering rock-and-roll artist. She is known to many as the “Queen of Rockabilly” or the “First Lady of Rockabilly”.

Jackson mixed country music with fast-moving rockabilly, often recording them on opposite sides of a record. As rockabilly declined in popularity in the 1960s, she moved to a successful career in mainstream country music with a string of hits between 1961 and 1973, including “Right or Wrong”, “Tears Will Be the Chaser for Your Wine”, “A Woman Lives for Love” and “Fancy Satin Pillows”.

She had a resurgence in popularity in the 1980s among rockabilly revivalists in Europe and younger Americana fans. In 2009, she was inducted into the Rock and Roll Hall of Fame in the category Early Influence.

On March 27, 2019, Jackson announced her official retirement from performing.

Jackson was born to Tom Robert Jackson (March 24, 1915 – October 1985) and Nellie Vera Jackson (December 19, 1913 – January 14, 2011) in Maud, Oklahoma, in 1937. She has lived much of her life in Oklahoma City. Her father, a musician, moved the family to Bakersfield, California, during the 1940s in hopes of a better life. Two years later, he bought Jackson a guitar and encouraged her to play. He also took her to see performances by Spade Cooley, Tex Williams and Bob Wills, which left a lasting impression. In 1948, when she was 11, the family moved back to Oklahoma. In 1956, she won a talent contest which led to her own radio program, soon extended by 30 minutes.


Wanda Jackson in the mid 50′ s

Jackson began her professional career while still attending Capitol Hill High School in Oklahoma City after being discovered by Hank Thompson in 1954, who heard her singing on a local radio station, KLPR-AM, and invited her to perform with his band, the Brazos Valley Boys. She recorded a few songs on their label, Capitol Records, including “You Can’t Have My Love”, a duet with Thompson’s bandleader, Billy Gray. The song was released as a single in 1954 and reached number 8 on the country chart. Jackson asked Capitol to sign her but was turned down by producer Ken Nelson, who told her, “Girls don’t sell records.” She signed with Decca Records instead.

After graduating from high school, Jackson began to tour with her father as manager and chaperon. She often shared the bill with Elvis Presley, who encouraged her to sing rockabilly. She briefly dated Presley while touring. She was a cast member of ABC-TV’s Ozark Jubilee in Springfield, Missouri, from 1955 to 1960. In 1956 she signed with Capitol, recording a number of singles mixing country with rock and roll. “I Gotta Know”, released in 1956, peaked at number 15.

Jackson’s stage outfits in these years were often designed by her mother. Unlike the traditional clothing worn by female country music singers of the time, she wore fringed dresses, high heels and long earrings. She has claimed she was the first woman to put “glamour into country music.”

She continued to record more rockabilly singles through the decade with the producer Ken Nelson. Jackson insisted that Nelson make her records sound like those of label mates Gene Vincent and the Blue Caps. Nelson brought in many experienced and popular session players, including the rock-and-roll pianist Merill Moore and the then-unknown Buck Owens. With a unique vocal style and upbeat material, Jackson created some of the most influential rock and roll of the time.

WandaJackson01In the late 1950s, Jackson recorded and released a number of rockabilly songs, including “Hot Dog! That Made Him Mad”, “Mean, Mean Man”, “Fujiyama Mama” (which hit number 1 in Japan) and “Honey Bop”. The songs were only regional hits. She toured Japan in February and March 1959.

In 1960, Jackson had a Top 40 pop hit with “Let’s Have a Party”, a song Presley had recorded three years earlier.[10] She was headlining concerts with her own band, which she dubbed the Party Timers. Prominently featured were the pianist Big Al Downing and the guitarist Roy Clark, who was virtually unknown at the time.[14] Her country music career also began to take off with the self-penned “Right or Wrong”, a number 9 hit, and “In the Middle of a Heartache”, which peaked at number 6. Both records also had Top 40 success.

The unexpected success of her records led Capitol to release a number of albums composed of her 1950s material, including Rockin’ with Wanda (1960) and There’s a Party Goin’ On, which included “Tongue Tied” and “Hard-Headed Woman”. Her 1961 and 1962 albums, Right or Wrong and Wonderful Wanda, featured her two top-ten country hits from 1961. In 1963, Jackson recorded another album, Two Sides of Wanda, which included both rock and roll and country music, including a cover of Jerry Lee Lewis’s “Whole Lotta Shakin’ Goin’ On”. The album earned Jackson her first Grammy nomination, for Best Female Country Vocal Performance.

By 1965, Jackson was focusing more exclusively on traditional country music as rockabilly declined in popularity, and had a string of Top 40 hits during the next ten years. In 1966, she released two singles that peaked in the country top 20, “Tears Will Be the Chaser for Your Wine” and “The Box It Came In”.

In early 1965, Jackson was invited by the German distribution partner of Capitol Records, Electrola, to record in German. Jackson’s German-language debut single, “Santo Domingo” (backed with “Morgen, ja morgen”), recorded at Electrola’s studios in Cologne, peaked at number 5 on the official German charts and at number 1 on the charts of Germany’s most influential teen magazine, Bravo. In the first months following the chart success of Santo Domingo, Jackson also re-recorded some of her German songs in Dutch and Japanese. The success of Santo Domingo prompted the recording of eight further German-language singles until 1968, which were also released on an album, Made in Germany. Her last German single was recorded in 1970.


In 1967, she recorded two albums, and released a string of singles during the next few years that often asserted a fiery and violent persona, including 1969’s “My Big Iron Skillet”, a top 20 hit, which threatened death or assault for cheating on a spouse. In 1970 and 1971, she had her final top 20 country hits with “A Woman Lives for Love” (her second Grammy nomination) and “Fancy Satin Pillows”. Jackson was a premier attraction in Las Vegas. She followed Kitty Wells’s lead as only the second country female vocalist to have her own syndicated television show, Music Village, from 1967 to 1968.

In the early 1970s, at her children’s request, Jackson and her husband began to regularly attend church and became Christians. She began recording gospel songs and albums, including Praise the Lord for Capitol in 1972. After Capitol dropped her, she recorded a number of albums for small religious labels and set up evangelical church tours across the country with her husband. Jackson wanted to record a mix of country and gospel music for her albums; however, religious labels were not interested.

WandaJackson1970In the early 1980s, Jackson was invited to Europe to play and record rockabilly material when revivalists sought her out. She regularly toured Scandinavia, England, and Germany during the decade. Now embracing her rock-and-roll history, Jackson released the album Rockabilly Fever in 1984 (later issued by Rounder Records as Rock N’ Roll Your Blues Away in 1986), her first secular album in a decade and her first recording of rock music in over twenty years.

Cyndi Lauper acknowledged Jackson’s classic rockabilly records were a major influence and inspiration for her during this period, and Jackson’s fans also included a new generation of country music female vocalists, among them Rosanne Cash, Pam Tillis, Jann Browne and Rosie Flores. Jackson recorded a duet with Browne on a 1987 album by Browne, and in 1995 she sang two duets with Flores on her 1995 album, Rockabilly Filly, and then embarked on a United States tour with her, her first American tour since the 1970s.

She played at the Rockabilly Festival in Jackson, Tennessee, in 2001 with The Cadillac Angels. Jackson, then in her early 60s, continued touring. She again played Jackson’s International Rockabilly Hall of Fame show in August 2013, a show which also featured new inductee Terry Manning.

Jackson released her first studio album since 1987, Heart Trouble  on CMH Records. The sixteen-track album included guest appearances by Elvis Costello, the Cramps and Rosie Flores. The singer Amy LaVere portrayed a young Jackson in the Johnny Cash biopic, Walk the Line (2005).


Jackson was interviewed about the origins of rockabilly in the award-winning Canadian documentary Rockabilly 514 (2008), directed by Patricia Chica and Mike Wafer.

She returned to England on October 28, 2008, for an appearance at the London Rock ‘n’ Roll Festival with Jerry Lee Lewis and Linda Gail Lewis at the London Forum.

In 2009, she teamed up with Jack White to record The Party Ain’t Over. The album, released in 2011, marked Jackson’s first charting on the Billboard Hot 200 LP chart, peaking at number 58. The album also broke Mae West’s long-standing record for being the oldest female vocalist to make the chart with her 1966 album Way Out West. Jackson was 73, being a year older than West, at the time. To promote The Party Ain’t Over, she performed with White on both the Late Show with David Letterman and Conan.

Wanda’s song “Funnel of Love” appeared in Guy Ritchie’s film RocknRolla in 2008 and was included on the film’s soundtrack. An episode of the HBO program Entourage in 2010 featured the same song as the music to the ending credits.


Jackson appeared on the BBC’s Hootenanny at the end of 2010, performing her version of “Let’s Have a Party” and a cover of the Amy Winehouse song “You Know I’m No Good” with Jools Holland and his orchestra. The following year, after Winehouse’s death, she took part in an Amy Winehouse tribute performance with Sharon Jones & The Dap-Kings at the VH1 Divas Live 2011.

Jackson released her thirty-first studio album Unfinished Business in 2012 for Sugar Hill Records. The album goes back to her rockabilly and country roots and was produced by Americana singer-songwriter Justin Townes Earle. The album became Jackson’s first in 39 years to make the Billboard Hot Country LP chart.

Following the announcement of her retirement, Jackson revealed in an interview with Rolling Stone that a previously undisclosed stroke that occurred in August 2018 was partially to blame for the decision. She did, however, reiterate that she is in the process of recording a new album produced by Joan Jett which she hopes to complete in 2019.

WandaJackson05In 1955, Jackson briefly dated Elvis Presley while on tour with him. She married former IBM programmer Wendell Goodman in 1961, who served as her manager. He died on May 21, 2017. The couple had two children. As of the 2000s she lives in Oklahoma City.

At the 7th Annual Grammy Awards in 1964, Jackson was nominated in the category of Best Country & Western Vocal Performance – Female for her album Two Sides of Wanda. At the 13th Annual Grammy Awards in 1970, she was nominated in the Best Country Vocal Performance, Female category for the song “A Woman Lives for Love”.

Jackson is a member of the Rockabilly Hall of Fame, The International Rockabilly Hall of Fame, and the Oklahoma Music and Oklahoma Country Music halls of fame, as well as the International Gospel and the German Music halls of fame.

Jackson ranked number 35 on CMT’s 2002 special, “The 40 Greatest Women of Country Music”.

She is a recipient of a 2005 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States’ highest honor in the folk and traditional arts.


She was nominated for induction into the Rock and Roll Hall of Fame in 2005 but was not elected. In September 2008, she was nominated for a second time; and was inducted on April 4, 2009 as an Early Influence. She was the first addition to the category in nine years.

In 2006 Alfred Publishing acknowledged her influence on young musicians by publishing The Best of Wanda Jackson: Let’s Have a Party, a songbook with music and lyrics to thirteen songs associated with Jackson. It was the first songbook ever published on Jackson.

In 2009, Oklahoma City named an alley for her in the Bricktown entertainment district. “Wanda Jackson Way” was officially christened with a live performance by Jackson in her “Way” on September 30, 2009. Besides this street in Oklahoma City, the city of Maud, Oklahoma, where she was born, has named one of its streets, Wanda Jackson Boulevard.

On September 9, 2010, she was presented with the Lifetime Achievement Award for Performance at the Americana Music Honors & Awards by Jack White on behalf of the Americana Music Association.

In 2013, she was inducted into the Iowa Rock and Roll Music Association (IRRMA) Hall of Fame in the category “Women Who Rock”.

In 2016, Jackson received the “Founder of the Sound” award at the Ameripolitan Music Awards. (by wikipedia)


Okay … this is one of her countless albums from her early days … the two sides of Wanda Jackson: the sentimental side and her rockin´ side …

Close your eyes and drift away … enjoy this sentimental journey.


Wanda Jackson (vocals)
a bunch of unknown studio musicians

Sentimental Side:
01. Right Or Wrong (W.Jackson) 2.39
02. Why I’m Walkin’ (Endsley/S.Jackson) 2.33
03. So Soon (Tillis/Walker) 2.23
04. The Last Letter (Griffin) 3.01
05. I May Never Get To Heaven (Anderson/Killen) 2.36
06. The Window Up Above (Jones) 2.40

Rockin’ Side:
07. Sticks And Stones (Turner) 2.11
08. Stupid Cupid (Sedaka7Greenfield) 2.16
09. Slippin’ And A Slidin’ (Collins/Bocage/Smith/Penniman) 2.11
10. Brown Eyed Handsome Man (Berry) 2.16
11. Who Shot Sam (Edwards/Jones/Jackson) 2.23
12. My Baby Left Me (Crudup) 2.11



John Coltrane – The 1961 Newport Set (2012)

FrontCover1.jpgThis album catches John Coltrane’s set at the 1961 Newport Jazz Festival and includes solid live versions of “Impressions,” “Naima,” and “My Favorite Things.” (by Steve Leggett)

Collected tons of weird, obscure bootleg Coltrane material in the mid-00s so I’m always surprised when something like this pops up that I’ve never heard. In the context of Coltrane bootlegs, this is about a C, maybe good for people who like the mellower-but-still-improvisitory sound of Coltrane’s early quartet. Any fan of Coltrane’s live performances knows he kept re-working “Impressions” and “My Favorite Things” into monstrous existential dirges right till the end–compared to that, these are definitely the more pleasant, jaunty, melodic versions, even compared to the Raga-infused “Village Vanguard” sets from ’61.

I don’t even see a track listing here–it’s “Impressions,” “Naima,” “My Favorite Things,” (Newport ’61) then “Blue Train,” “I Want to Talk about You,” “Impressions,” “My Favorite Things.” (European tour w/ Eric Dolphy.) The Newport set has better sound quality. I believe the second set is included in the “Live Trane” box set which I purchased years ago.

John Coltrane 1961.jpg

The general sound of the Newport material is very similar to the Live Trane 1961 European tour material, generally, only without Dolphy. There are no face-melting Coltrane brilliancies, really, although “My Favorite Things” is always more or less revelatory (I’m comparing it to dozens of versions I’ve heard, so my standards are pretty high.) McCoy Tyner (piano) was young, and definitely got better throughout the 60s, so this is some of his weakest work. Coltrane does some of that great fast-run sax tenor playing on the “Impressions” versions (as opposed to the slower sound of say “Chasin’ the Trane”-style.)

Nothing wrong with it, but nothing to moisten your trousers, really, even if you’re a Coltrane collector. The Newport ’61 stuff is not a bad sampling of Coltrane’s early quartet on stage (there’s no official Impulse! record that corresponds to it, really,) (Hogarth Blortsporr)

Live at the Newport Jazz Festival, Newport, Rhode Island, July 1, 1961.
Bonus Tracks 5 to 8: Kulttuuritalo, Helsinki, Finland, November 22, 1961.


John Coltrane (saxophone)
Elvin Jones (drums)
McCoy Tyner (piano)
Reggie Workman (bass)
Art Davis (bass on 01. – 04.)
Eric Dolphy (saxophone, flute on 05. – 08.)


01. Announcement 1.24
02. Impressions (Coltrane) 6.23
03 Naima (Coltrane) 4:18
04. My Favorite Things (Rodgers/Hammerstein II) 16.28
05. Blue Train (Coltrane) 9.29
06. I Want To Talk About You (Eckstine) 7.19
07. Impressions (Coltrane) 8.23
08. My Favorite Things (Rodgers/Hammerstein II) 21.05



More John Coltrane:


Walter Wanderley – Sucessos Dançantes Em Ritmo De Romance (1961)

FrontCover1.jpgWalter Wanderley (born Walter Jose Wanderley Mendonça, 12 May 1932 – 4 September 1986) was a Brazilian organist and pianist, best known for his lounge and bossa nova music and for his instrumental version of the song Summer Samba which became a worldwide hit.

Wanderley was born in Recife, Brazil. Already famous in his native country by the late 1950s, he became an internationally renowned star in the mid-1960s through his collaboration with the singer Astrud Gilberto.

He recorded six albums on the Verve label between 1966 and 1968. Three of those albums, Rain Forest, Cheganca and Astrud Gilberto’s A Certain Smile, A Certain Sadness, were with a trio consisting of Wanderley, Claudio Slon (drums) and Jose Marino (bass) and were produced in the United States by Creed Taylor, who initially brought the trio to the U.S. to record at the persuasion of Tony Bennett. Wanderley’s U.S. recording of Summer Samba reached No. 26 on the Billboard charts in the summer of 1966.[2] Another album recorded during that period was Popcorn, in collaboration with the Brazilian singer-guitarist Luiz Henrique Rosa. Around that same period Wanderley also established the Carnival with Bob Matthews, João Palma, José Soares, and Janis Hansen; all former members of Sérgio Mendes’ Brasil ’66.

WalterWanderley01After the trio disbanded (though they were briefly reunited in 1971 for “The Return of the Original” on Canyon Records), Wanderley himself continued to record albums on Verve, A&M/CTI, and GNP Crescendo. During that time, he also made numerous personal appearances, including a concert tour of Mexico.

Wanderley was known for his distinctive staccato stuttering style and mastery of the Hammond B-3 organ and on later recordings and during live concerts a L Series Hammond. His later career was blighted by alcoholism and he died in relative obscurity of cancer in 1986 in San Francisco, California, aged 54.

He was married to Isaurinha Garcia, one of the most popular singers in Brazil. He is the grandfather of Brazilian actor and singer Rickkie. (by wikipedia)

And here´s a real beutiful album from his early days. What a great organ … but a superb saxophon and uitar, too.

And if you like orga music (like me), than it´s time to discover the one and only Walter Wanderley!


Walter Wanderley (organ)

a bunch of unknown studio musicians


01. E Daí ? (Proibição Inútil e Ilegal) (Gustavo) 2.34
02. O Apito do Samba (Bandeira) 3.22
03. Gimba (Kaszas/Guarnieri) 2.28
04. Io (Migliacci/Modogno) 2.37
05. Baby Rock (Nisa) 2.48
06. Quem É ? (Magalhães/Navarro)
07. Oh! Carol (Howard Greenfield/Neil Sedaka) 2.58
08. Perfume de Gardenia (Hernandez) 3.16
09. Quero Beijar-te as Mãos (de Carvalho/Faisal) 2.18
10. A Noite do Meu Bem (Duran) 2.26
11. Fim de Caso (Duran) 2.43
12. Castigo (Duran) 2.49



WalterWanderley03Walter Wanderley (12 May 1932 – 4 September 1986)

João Gilberto – Same (1961)

FrontCover1Here is the third album in João Gilberto’s trilogy of blueprints for Bossa Nova, following his celebrated 1959 debut, Chega de Saudade and it’s sequel, O amor, o sorriso e a flor (Love, a Smile and a Flower).

Produced by Antonio Carlos Jobim and Walter Wanderley, the album combines a splendid Bossa Nova repertoire of Jobim, Vinicius de Moraes and Carlos Lyra originals with Gilberto’s interpretations of songs from Brazil’s musical past.

The performances of these enchanting songs display the full range of João Gilberto’s singular style; the intimate voice and his innovative, linear approach to the guitar that revolutionized Brazilian music and the international pop scene.

On this album João Gilberto was accompanied by Walter Wanderley (orgn) and hisgroup.

And it´s another highlight in the long career of the one and only João Gilberto.


João Gilberto (vocals, guitar)
The Walter Wanderley Group


01. Samba da minha terra (Caymmi) 2.21
02. O barquinho (Menescal/Bôscoli) 3.21
03. Bolinha de papel (Pereira) 1.19
04. Saudade da Bahia (Caymmi) 2.16
05. A primeira vez (Marçal/Bide) 1.52
06. O amor em paz (Jobim/de Moraes)
07. Você e eu (Carlos Lyra – Vinicius de Moraes) 2.31
08. Trem de Ferro-Trenzinho (Maia) 1.51
09. Coisa mais linda (Lyra/de Moraes) 2.52
10. Presente de natal (Noronha) 1.54
11. Insensatez (Jobim/de Moraes) 2.26
12. Este seu olhar (Jobim) 2.14



AlternateFrontCover.jpgAlternate frontcover

Dick Dale And His Del-Tones – Surfers’ Choice (1962)

FrontCover1.jpgGuitarist Dick Dale, whose fast, thunderous sound pioneered the California “surf rock” genre of the early 1960s and gained a new generation of fans decades later through its appearance in “Pulp Fiction,” has died. He was 81.
His former drummer Dusty Watson told CNN that Dale died Saturday night after “having issues related to his heart.”
Dale had a “wet,” reverb-heavy guitar sound that evoked crashing waves and sought to echo the sounds he played in his mind while surfing, according to the Huntington Beach Surfing Walk of Fame. His singular, staccato picking drew upon Middle Eastern music (his father was Lebanese) and influenced the Beach Boys, the Ventures and other surf-rock artists of the era.

His best-known song, 1962’s “Miserlou” (sometimes spelled “Misirlou”), was an adaptation of an early-19th century Middle Eastern instrumental folk tune. In Dale’s hands it became a furious rave-up that packed dance floors — and has had a long life in pop culture.

Quentin Tarantino used it over the opening credits of “Pulp Fiction,” giving the song a new veneer of retro cool, and the Black Eyed Peas sampled it prominently in “Pump It,” their 2006 hit. That same year the song also appeared in a “Guitar Hero” video game.
Dale’s early fame and impact brought him the nickname, “King of the Surf Guitar.”

“I’m sorry to hear about Dick Dale passing. Dick’s guitar playing was a big influence on all of us, and we covered ‘Misirlou’ on our Surfin’ USA album in ’63,” Beach Boys leader Brian Wilson said on Twitter.
Dale was born Richard Anthony Monsour in Boston but moved to Southern California as a teenager and quickly discovered surfing.
He and his band the Del-Tones began playing weekend gigs in the late 1950s at the Rendezvous Ballroom in the seaside Balboa neighborhood of Newport Beach. He played a Fender Stratocaster guitar and used a customized Fender amp to develop his signature thick sound and ear-shredding volume.


Dale’s “Let’s Go Trippin,'” first played in 1961, is viewed by many as the first-ever surf rock song. His debut album, “Surfers’ Choice,” came out in 1962 and earned him appearances on Ed Sullivan’s show and in “Beach Party,” the 1963 Frankie Avalon-Annette Funicello movie.
Dale’s later career was interrupted repeatedly by health problems. He had recurring battles with rectal cancer and toured into his 80s to help pay his medical bills.
“I want to thank all my music lovers for supporting me these last 3 months with your wonderful heartfelt letters praying for my speedy recovery as I battle this demon that attacks so many other friends and their loved ones,” he wrote on his website in 2008. “For now, no touring for a while.”
But Dale returned to the road and was still performing as recently as December.


Watson, his former drummer, called Dale “the creator of an entire genre of Southern California indigenous music — not by him, but by his fans who were surfers — a new craze that had taken over the beaches up and down the coast.”
Watson said Dale was a gracious performer who would stay for hours after each show talking to fans and signing autographs. Onstage, he said, Dale was “a true force of nature … delivering a punch that would ricochet off the back wall and punch us all in the chest.” (by CNN)


And here´s his debut album … from the early Sixties:

Very few early rock & roll albums were true groundbreakers, but this is one: not only did it single-handedly establish the surf music genre (and Dick Dale’s hegemony over it), but also sold the entire concept to mass America, where surfing in landlocked regions was only a state of mind. Largely recorded at the Rendezvous Ballroom in Balboa Beach — Dale’s ruling home turf, where one can clearly hear the kids screaming in anticipation at the start of “Surf Beat” — this lays out the vocal highlights from Dick’s set list (“Peppermint Man,” “Lovey Dovey,” “Night Owl,” “Fanny Mae,” and “Sloop John B.,” sounding very odd here with overdubbed strings) up against the instrumentals that truly forged the style.


“Miserlou Twist” — a different version than the original Del-Tone single — and the original, pre-reverb single version of “Let’s Go Trippin'” appear to be the only studio tracks aboard. But the live takes on “Surfing Drums” (later retitled “Tribal Thunder” on one of Dale’s comeback albums), “Take It Off,” “Shake ‘n’ Stomp,” and the lowdown stomp of “Death of a Gremmie” just as clearly delineate the wild, reverbed excitement of the new style in its native habitat. Without a doubt, surf guitar’s finest hour, the genre’s equivalent to Charlie Parker’s Dial recordings. (by Cub Koda)


Alternate frontcover

Dick Dale (guitar, vocals, piano)
Bryan Dietz (bass)
Armon Frank (saxophone)
Jack Lake (drums)
Art Munson (guitar)
Nick O’Malley (guitar)
Barry Rillera (saxophone)


01. Surf Beat (Dale) 3.01
02. Sloop John B. (Mays/Sandberg) 2.19
03. Take It Off (Dale) 2.11
04. Night Owl (Allen) 2.37
05. Fanny Mae (Brown) 2.38
06. Miserlou Twist (Russell/Wise/Rubanis/Leeds) 4.08
07. Peppermint Man (Willis) 2.25
08. Surfing Drums (Dale) 4.53
09. Shake N’ Stomp (Dale) 2.12
10. Lovey Dovey (Curtis/Ertegun) 3.34
11. Death Of A Gremmie (Dale) 2.48
12. Let’s Go Trippin’ (Dale) 2.12
13. Del-Tone Rock (Dale) 2.43
14. Jungle Fever (Dale) 2.17
15. Miserlou (Dale) 2.18
16. Eight Till Midnight (Wayne/Rasch) 2.09
17. Lovin’ On My Brain (Dick Dale solo) (Dale) 2.23
18. A Run For Life (Dick Dale solo) (Dale) 2.08




Dick Dale (May 4, 1937 – March 16, 2019)