Die Musikbar mit der Plattenküche

Beschreibung

1-CD mit 12-seitigem Booklet, 16 Einzeltitel. Spieldauer ca. 37 Minuten. Rockabilly aus den Archiven von Festival Records, das Herb Abramson gehört, dem Mitbegründer von Atlantic! Seltene Aufnahmen aus den späten 50er und 60er Jahren. Wir finden, dass Rockabilly auf Compact Discs ganz prima kling…

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1-CD mit 12-seitigem Booklet, 16 Einzeltitel. Spieldauer ca. 37 Minuten. Rockabilly aus den Archiven von Festival Records, das Herb Abramson gehört, dem Mitbegründer von Atlantic! Seltene Aufnahmen aus den späten 50er und 60er Jahren. Wir finden, dass Rockabilly auf Compact Discs ganz prima klingt. Also nahmen wir uns 1992 vor, die ultimative Rockabilly-Serie aus der Taufe zu heben, That’ll Flat Git It! Ursprünglich war diese Art von Musik ja etwas zur Veröffentlichung auf Singles, darum bauten wir unsere neue Reihe nach Labels auf und nicht nach Künstlern. Und wir setzten alles daran, dass sie ein Genuss für die Ohren wird – mit einem Knaller nach dem anderen, ergänzt durch etliche Top-Raritäten. Jede einzelne der CDs sollte gewissermaßen eine, wenn möglich, 30-Titel-Musicbox sein, mit den besten Rockabilly-Songs, die jemals für all die legendären Labels aufgenommen worden sind. Wir machten uns auf die Suche nach den am besten klingenden Bändern, ließen sie dann von den führenden Mastering-Spezialisten bearbeiten und haben auch in puncto Verpackung neue Maßstäbe gesetzt. Als übergeordneten Serien-Titel wählten wir ‚ „That’ll Flat Git It!“, das verbale Erkennungszeichen des ersten Rockabilly-Discjockeys Dewey Phillips. Für die Zusammenstellung konnten wir Bill Millar verpflichten, der in den Siebziger- und Achtzigerjahren die klassischen Label-Rockabilly-LPs zusammengestellt hat. Außerdem suchten wir unveröffentlichtes Fotomaterial und machten all jene Interpreten ausfindig, nach denen bis dahin vergeblich geforscht worden war. Unterm Strich steht unsere einzigartige Rockabilly-Serie mit insgesamt 27 Folgen. You might have thought that rock ’n‘ roll archaeology had reached the point where something was known about everyone who once cut a record for every diddly record label that ever existed. You might have thought that – but you’d have been wrong. Here is rock ’n‘ roll from the biggest of the big cities, featuring guys who have, for the greater part, been sucked into the vortex that fate saves for the once promising. It’s also rock ’n‘ roll with a very New York feel. All of these sides were cut by Festival Records, a joint venture between Herb Abramson and Jerry Blaine. A little background. Abramson was one of the founding partners in National, Jubilee, and the Atlantic Records. After he returned from the service in 1955, ex-Billboard columnist Jerry Wexler was in his chair at Atlantic, and in June 1956 Herb was handed the label’s Acto division. Two of his first signings were white rockabillies, Hal Willis and Glenn Reeves, from southern parts. After a couple of years, Herb left Atlantic in a series of boardroom maneuvers that still aren’t entirely clear. The players in the story, Abramson, his ex-wife Miriam, Wexler, and the Erteguns all have slightly different accounts, but the upshot was that Herb was gone. Herb used his settlement from Atlantic to start several labels including Thriumph, Blaze and Festival. He signed a few promising talents, like Gene Pitney and Don Covay, and cut a few great records, but couldn’t get a hit. Festival was started in late 1966 or early 1967. Abramson’s partner in this venture was Jerry Blaine, who had started Jubilee Records with him in 1947 shortly before Herb left to start Atlantic. Jubilee didn’t amount to much when Abramson left, it had started with Yiddish novelty record, and made no waves until Blaine moved into R&amp,B, signing the Orioles in 1948. Twenty years on, Abramson and Blaine were back together with high hopes for their new label. The first signee to Festival was ‚Willie The Wild One‘, who according to a press release at the time, was English. In fact, his name was Billy Barry, an the closest he’d been to England was New England. As Abramson remembers, he was from Framingham, Massachussetts. Willie had apparently copped his attitude from Marlon Brando in ‚The Wild One‘, although at his signing he looked more like he belonged in a pimply English beat group than on an Harley. Barry certainly had the goods for the ’60s beat scene. There’s enough snarl on They Call Me Willie The Wild One for him to sound convincing, and his guitarist hit the right licks. On other sides, his limitations seem to be magnified. And what of Billy Balls? According to Abramson, his real name was Wlliam Heintzman, and he was one of the prime movers in the east Village punk scene. He played with Guitarist Cheetah Chrome of the Dead Boys, and drummer Jerry Nolan who later joined the New York Dolls. Billy was also an accomplished pianist and a piano tuner much in demand among the classical fraternity, but here he seems to be staking out his punk credentials. If there was any indication whe…

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