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"And I Know You Wanna Dance/Whisky a Go-Go Revisited" (10/04/2005) Rock & Pop Rivers, Johnny (Pop), Beat Goes On2 LPs on 1 CD: AND I KNOW YOU WANT TO DANCE/WHISKEY A GOGO. Personnel: Chuck Day, Joe Osborne (guitar, bass guitar); Larry Knechtel (organ); Mickey Jones (drums). At a time when the British Invasion was taking over the charts in America and the first flashes of psychedelia were appearing on the horizon of rock music, Johnny Rivers was a guy who had no problem carrying the flag for simple, meat-and-potatoes rock & roll. He was also good enough at it that he didn't sound reactionary, but like someone who loved the classic styles of rock and R&B and gave them the respect they deserved, not unlike John Fogerty and Creedence Clearwater Revival a few years down the road (though Rivers didn't have the songwriting knack that was Fogerty's strongest asset). Rivers cut several strong live albums at his favorite stomping grounds, the Whisky a Go-Go in Los Angeles, and this two-fer CD from Beat Goes On records pairs up two of the later LPs in the series, 1966's And I Know You Wanna Dance and 1967's Whisky a Go-Go Revisited. Both albums play to Rivers' strengths as a tough, no-nonsense guitar player and passionate blue-eyed soul singer who knew how to rock the house and get the crowd up on its feet, though the 12 months that separated the two sets proved significant. And I Know You Wanna Dance is dominated by covers of R&B hits of the day, ranging from Arthur Alexander's "Every Day I Have to Cry" to Stevie Wonder's "Uptight (Everything's Alright)," with Rivers and his band (including session greats Mickey Jones and Larry Knetchel) locked in tight on the tunes. The first half of Whisky a Go-Go Revisited follows a similar form, but side two was devoted to a 15-minute jam on "John Lee Hooker," and the stretched-out length of the performance and the call-and-response interplay between Rivers and Knetchel suggests they were aware of what was going on in the rock ballrooms in San Francisco, and if it wasn't quite Johnny's thing, it was certainly having its influence (and would also make its presence felt on his next few studio albums, though the guy never developed much of a taste for the trippy stuff). Fine listening, and good rockin' fun from an artist deserving of greater respect. ~ Mark Deming

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"Chart Toppers: Dance Hits of the 50s" (05/26/1998) Oldies Chart Toppers, Priority Records (USA)This is part of Priority Records' Chart Toppers series. Priority's Chart Toppers series is an excellent budget-line collection, offering a strong selection of 15 original hits, grouped by a specific theme and decade, on each disc. Chart Toppers: Dance Hits of the 50s combines rock & roll, doo wop, rockabilly, R&B, and pop hits -- an eclectic bunch, to say the least, but the variety helps capture the feeling of the decade. A few of the songs haven't dated well, but for the most part the selection of songs is terrific, albeit a little predictable. Among the highlights on the disc are Bill Haley's "(We're Gonna) Rock Around the Clock," Jerry Lee Lewis' "Great Balls of Fire," the Champs' "Tequila," Shirley & Lee's "Let the Good Times Roll," the Coasters' "Charlie Brown," Buddy Knox's "Party Doll," the Royal Teens' "Short Shorts," the Diamonds' "The Stroll," Kay Starr's "The Rock & Roll Waltz," and Harry Belafonte's "The Banana Boat Song (Day-O)." ~ Stephen Thomas Erlewine

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"Talk That Talk (Dance That Dance)" (10/15/1996) Oldies Various Artists, ForevermoreAudio Remasterer: Chris Biehler. Liner Note Author: Robbie "Dr. Feelgood" Vogt. Photographer: Leon Williams.

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"Dance Hits Of The 50s & 60s" (01/08/2002) Oldies Various Artists, Columbia River Entertainment Group

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"Dance Hits of Rock N Roll" (01/05/2005) Oldies Various Artists, Columbia River Entertainment GroupAlso sold as part of a 3-CD box set with DANCE HITS & DANCE PARTY CLASSICS, entitled, PARTY FAVORITES.

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"We Are from Nowhere" (01/21/2003) Oldies Dance Disaster Movement, Dim Mak RecordsDance Disaster Movement: Kevin Disco (vocals, synthesizer); Matt Howze (drums, percussion). Recording information: The Distillery (09/2002-10/2002). Over the past couple of years, the dance-punk genre has resurfaced and grown with virus-like speed, resulting in scores of bands that are as infatuated with dark, arty noise as they are with the dancefloor. Despite all the competition, Dance Disaster Movement still have plenty to offer to the style, based on their debut album We Are from Nowhere. Unlike the taut precision that guides some of their contemporaries, the duo opts for a loose, raw sound that falls more on the punk side of the equation and balances its formidable noise with a surprisingly soft side. "I Want Your Sass," the opening track on We Are from Nowhere, exemplifies Dance Disaster Movement's sound, with siren-like guitars, pulsing synths, stuttering, paranoid vocals, and forceful-yet-complicated drumming that ebb and flow into dreamy, reflective passages. It's a simple contrast, but that just makes it all the more effective; even though the rest of the songs on We Are from Nowhere more or less just repeat this pattern, it still sounds fresh for most of the album. Even within this rather strict formula, the band comes up with some appealing variations on it, ranging from the extreme angularity of "C'Est la Vie" and "Got the Piece of Mind (Shoot Me in the F*cking Head)," which stretch Dance Disaster Movement's explosive/implosive dynamics to the breaking point, to "The Shots," an extended jam that reveals a prettier, poppier side to their sound. There's also a slightly experimental angle to DDM's music: "Erewhonmoreferaew" sounds like a bunch of random samples thrown into a sequencer, resulting in a fusion of punk, lo-fi and glitch; "Quarkscrews" is similarly volatile but much cuter and more melodic, sporting tweaked keyboards that sound like R2D2 lending some guest vocals. Despite these interludes, We Are from Nowhere's focus is on dense, intense attitude, at which Dance Disaster Movement excels. The album's buzzy, oversaturated production goes a long way towards this mood, adding a "you are there quality" that suggests it was recorded in someone's basement doubling as an impromptu dance club/studio. The closing track "Seizure" literally finishes with a bang -- the only logical conclusion to such an explosive set of songs. While it's a few shades away from greatness, on We Are from Nowhere Dance Disaster Movement hint that they have more than just kinetic energy, noise and trendiness on their side. ~ Heather Phares

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"50's Summer Dance Party" (10/30/2001) Oldies Various Artists, Columbia River Entertainment GroupAlso sold as part of a 3-CD box set with ROOTS OF ROCK & ROCK & ROLL GREATS, entitled, GOLDEN HITS OF THE 50'S & 60'S. 50's Summer Dance Party has a fairly promising track listing that mixes rockabilly, surf, and rock & roll hits. However, none of the songs here appear in their original versions. Woeful re-recordings and live versions of Chuck Berry's "School Days," Little Richard's "Tutti Frutti," and Gene Vincent's "Be-Bop-A-Lula" make the lackluster versions of Duane Eddy's "Rebel Rouser" and "Shazam!" the standout tracks by default. That's almost beside the point, though; there are many collections that do feature the original versions of these songs, making this collection a waste of time and money. ~ Heather Phares

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"Summer Dance Party [Columbia River #1]" (01/04/2005) Oldies Various Artists, Columbia River Entertainment Group

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"Do You Wanna Dance" (03/14/2006) Oldies Freeman, Bobby, Collectables RecordsIncludes original release liner notes by Mort Goode. Bobby Freeman's Do You Wanna Dance? has both of the rock & roll wild man's hits: 1958's "Do You Wanna Dance?" and 1964's Sly Stone-produced "C'Mon & Swim." The rest of the disc is padded out with ballads ("Ebb Tide," "Need Your Love," "My Guardian Angel"), carbon-copy follow-ups to his two hits ("She Said She Wants to Dance," "S-W-I-M"), and some fine rockers ("Mary Lou Got a New Pair of Shoes," "Mary Ann Thomas," "The Mess Around"). It feels skimpy (and indeed replaces an earlier collection of the same name on Collectables that had 12 tracks), but unless you are a budding Freeman fanatic, it should be enough. ~ Tim Sendra The title track is one of the great pieces of '50s R&B/rock and roll and was Freeman's moment of glory. The rest of the album is decent, occasionally above-average pop and light R&B, sung in an energetic fashion but not exactly spectacular stuff. It is fun, however, and if you can find the album, it's well worth getting. ~ Ron Wynn Bobby Freeman's Do You Wanna Dance? has both of the rock & roll wild man's hits: 1958's "Do You Wanna Dance?" and 1964's Sly Stone-produced "C'Mon & Swim." The rest of the disc is padded out with ballads ("Ebb Tide," "Need Your Love," "My Guardian Angel"), carbon-copy follow-ups to his two hits ("She Said She Wants to Dance," "S-W-I-M"), and some fine rockers ("Mary Lou Got a New Pair of Shoes," "Mary Ann Thomas," "The Mess Around"). It feels skimpy (and indeed replaces an earlier collection of the same name on Collectables that had 12 tracks), but unless you are a budding Freeman fanatic, it should be enough. ~ Tim Sendra

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"Chart Toppers: Dance Hits of the 60s" (05/26/1998) Oldies Chart Toppers, Priority Records (USA)This is part of Priority Records' Chart Toppers series. Priority's Chart Toppers series is an excellent budget-line collection, offering a strong selection of 15 original hits, grouped by a specific theme and decade, on each disc. Chart Toppers: Dance Hits of the 60's combines rock & roll, girl groups, surf-rock, R&B, pop, soul, psychedelia and pop-rock hits -- an eclectic bunch, to say the least, but the variety helps capture the feeling of the decade. A few of the songs haven't dated well, but for the most part, the selection of songs is terrific, albeit a little predictable. Among the highlights on the disc are Bobby Lewis' "Tossin' and Turnin'," Little Eva's "The Loco-Motion," the Contours' "Do You Love Me," the Surfaris' "Wipe Out," Jackie Wilson's "Baby Workout," Sam the Sham & the Pharaohs' "Wooly Bully," the Strangeloves' "I Want Candy," the Ventures' "Walk Don't Run," Spiral Starecase's "More Today Than Yesterday" and Lesley Gore's "It's My Party." ~ Stephen Thomas Erlewine

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"Dance Album [Varese Bonus Tracks] [Remaster]" (04/06/2004) Oldies Perkins, Carl (Rock), Varese Sarabande (USA)Liner Note Author: Bill Dahl. Recording information: 12/1954-??/1957. DANCE ALBUM is one of the most important LPs in rock & roll history, and certainly among the top five rockabilly albums, as it is THE definitive recorded statement from rockabilly trailblazer Carl Perkins. It was originally released on Sun in 1958, just after Perkins mirrored Elvis Presley's path by leaving Sun for a major label, and consists of tracks Perkins recorded for Sun between '55 and '57 (his unquestionable peak). The breathless intensity of both the hits ("Blue Suede Shoes," "Boppin' the Blues," et al) and the lesser-known songs is as fervid and infectious as Elvis's own Sun sides. Like Elvis and the other early rockabilly artists, Perkins blended country, blues, and R&B for a sparkling sound full of energy, lust, and pure jubilation. Perkins's roots in country were strong; "Sure to Fall" could be a lost Ernest Tubb cut, and on "Tennessee," Perkins namechecks Tubb, Red Foley, and even Eddy Arnold. The five bonus cuts appended to this seminal album are pure breakneck rockabilly, though; there's even a furious Jerry Lee Lewis piano solo on "Put Your Cat Clothes On." DANCE ALBUM is a timeless, vital piece of American musical history. Among the great early rock & roll albums, Dance Album, Carl Perkins' first LP for Sun, tends to get the short end of the stick. There's a reason for that. Sam Phillips rushed the album out after Perkins left Sun for Columbia in 1958, which was two years after "Blue Suede Shoes" was a hit, so Perkins not only didn't have a big single in the charts -- "Pink Pedal Pushers," his last for Sun, stalled at 91 on the pop charts -- but the label released it more as a cash-in than anything, and it never made much of an impact on the charts. These details fade into the past as the years go by, and what stands is the album itself, which is as good as rock & roll gets. First and foremost, the disc is a virtual greatest-hits album, containing most of Perkins' anthems: "Blue Suede Shoes," "Movie Magg," "Gone, Gone, Gone," "Honey Don't," "Everybody's Trying to Be My Baby," "Matchbox," "Boppin' the Blues," and "All Mama's Children." That's over half the album, and that's almost all of his big tunes, outside of "Put Your Cat Clothes On" and "Pink Pedal Pushers," which were added to Varese's superb expanded 2004 reissue, leaving just "Dixie Fried," "Lend Me Your Comb," and "Glad All Over" as missing hits. That's not bad for a greatest-hits album, but Dance Album is a hits album only in retrospect, after those tunes became standards. Combined, these tracks provided some of the toughest, rawest rockabilly, powered by Perkins' dynamic, gutsy guitar and earnest voice. Much of the rest of the record cruises by at the same speed -- the two-step tribute "Tennessee," the bopping "Your True Love," the speedy rockabilly blues cover "Right String, Wrong Yo Yo" -- slowing down for the pure country of "Sure to Fall" and a version of the Platters' "Only You" that turns it down-home. These may be the only two changes of pace, either in tempo or in style, but they give the album both range and a little bit of breathing room. But what really makes Dance Album a classic is that pure, hard-charging rockabilly that captures the genius of Perkins and is every bit as raw, energetic, and rocking decades after its release as it was at the time. [The aforementioned Varese reissue adds five bonus tracks from these Sun sessions, every one as strong as those on the original album: "Put Your Cat Clothes On," "Dixie Bop/Perkins Wiggle," "You Can Do No Wrong," "Sweethearts or Strangers," and "Pink Pedal Pushers."] ~ Stephen Thomas Erlewine

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"The Clovers/Dance Party" (03/14/2006) Oldies Clovers (The), Collectables Records2 LPs on 1 CD: THE CLOVERS (1956)/DANCE PARTY (1959). The Clovers: Billy Mitchell, Matthew McQuarter, Harold Lucas, Harold Winley (vocals); Bill Harris (guitar). One of the most popular R&B vocal groups of the 1950s, the Clovers excelled with their dynamic approach to doo-wop. Formed in Washington, D.C., the ensemble, generally led by Billy Mitchell, had numerous hits throughout the '50s, including the blues-laced "Ting-a-Ling," the passionate "Don't You Know I Love You," and the dreamy "Devil or Angel," all of which are featured on this excellent 26-track disc. Capable of easily shifting between proto-rock numbers (the rollicking "Hey Miss Fanny") and jazz-tinged ballads (a gorgeous rendition of "Blue Velvet"), the Clovers were also notable for their resonant harmonies and varied arrangements, ranging from the full-band punch of the former tune to the spare framing of the latter. Consisting of two late-'50 albums, this set provides sharper focus on the ensemble than a career retrospective, making it ideal for those looking for more than just the Clovers' remarkable run of singles.

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"Save the Last Dance for Me/The Good Life with the Drifters" (03/14/2006) Oldies Drifters (US) (The), Collectables Records2 LPs on 1 CD: SAVE THE LAST DANCE FOR ME (1961)/THE GOOD LIFE WITH THE DRIFTERS (1965). Includes original release liner notes by Bob Altchuler. This single-disc reissue CD contains two classic albums by the Drifters, 1962's DAVE THE LAST DANCE FOR ME and 1965's THE GOOD LIFE WITH THE DRIFTERS. That second album title is indicative, because the polished, warm sound of the Drifters' smooth harmonies were 1960s at its most ultra-civilized, more in keeping with the supper club than the roadhouse. SAVE THE LAST DANCE FOR ME, of course, contains the classic single of the same name, one of the Drifters' most beloved hits. But other highlights on this excellent 24-track package include Top 40 hits like "Saturday Night at the Movies," "Sweets For My Sweet," "Some Kind of Wonderful," "Please Stay," and "I Count the Tears." Album tracks of note include "Mexican Divorce," one of Burt Bacharach's earliest songs, and fine versions of standards like Anthony Newley's "What Kind of Fool Am I?" and "Who Can I Turn To (When Nobody Needs Me?)." THE GOOD LIFE WITH THE DRIFTERS finds the band moving decisively into middle-of-the-road cabaret pop as its Top 40 reign was coming to an end, but it's as fine a disc as its hitmaking twin.

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"Let the Little Girl Dance: The Very Best of Billy Bland" (03/14/2006) Oldies Bland, Billy, Collectables RecordsIncludes liner notes by Peter Grendysa. Digitally remastered by "Little" Walter DeVenne. Personnel: Billy Bland (vocals). Liner Note Author: Peter Grendysa. Recording information: 1955-1963. Billy Bland's one big hit, "Let the Little Girl Dance" from 1960, gives little indication of his range as a performer. This 29-track anthology of his OId Town recordings from 1955-1962 contains a surprising variety of music, from blues and R&B -- including no fewer than three songs about chickens -- to soul and teen idol pop. Because of his hit, a number of the songs target dance crazes or are about dancing in general, but there's more to Bland than that. "Oh, You for Me" borders on rockabilly, and "Uncle Bud" has strong country elements, which only adds to the impression that Bland was either incredibly adaptable or his producers were flailing about madly trying to score a hit. Both might be true, but Bland definitely demonstrates his versatility on these cuts, and acquits himself well as a blues shouter and a pop crooner. One of his best pop ballads, the self-composed "You Took My Love for Granted," wasn't even released prior to appearing on this collection. Let the Little Girl Dance has all of Bland's chart items (most of which, other than the title track, were very minor or regional hits), plus an alternate version of "Let the Little Girl Dance." Collectables' domestic anthology shares the same title but has four fewer songs and a different track sequence. ~ Greg Adams Featured here are 29 songs recorded by Bland for Old Town between 1955 and 1963, with five tracks that were unissued at the time, including an alternate (but similar) take of "Let the Little Girl Dance." Bland and Old Town tried a variety of strategies evident over the course of the disc. There are more sub-Jackie Wilson imitations with the "Lonely Teardrops" rhythm ("You Were Born to Be Loved"). There are also fair Bo Diddley-derived tunes ("Chicken in the Basket" is not just a derivation, but an imitation); down-home electric blues with Sonny Terry and Brownie McGhee as accompanists ("Chicken Hop"); up-tempo urban jump blues-R&B ("Grandma Gave a Party," "The Fat Man"); doo wop; faux New Orleans sounds ("Momma Stole the Chicken"); and sub-twist, early-'60s dance-craze rock ("Do the Bug with Me"). It's almost an unwitting primer of black music in the '50s and early '60s as it turned into R&B, rock, and soul. The material, however, is on the by-the-numbers side, and Bland is a likable but undistinguished singer. Some points of interest are "Uncle Bud," (like "Chicken Hop") which features just-out-of-the-country electric blues that probably has Sonny Terry on guitar (the composer credit is "S. Terry"); the little-known and unmemorable Gene Pitney tune "Harmony," and "I Spend My Life Loving You," which was co-written by Bland and J. Mack, though sounds like it could be mistaken for a Gene Pitney composition. ~ Richie Unterberger

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"Let the Little Girl Dance *" (06/01/2001) Oldies Bland, Billy, Ace Records (UK)Includes liner notes by Peter Grendysa. Digitally remastered by "Little" Walter DeVenne. Billy Bland's one big hit, "Let the Little Girl Dance" from 1960, gives little indication of his range as a performer. This 29-track anthology of his OId Town recordings from 1955-1962 contains a surprising variety of music, from blues and R&B -- including no fewer than three songs about chickens -- to soul and teen idol pop. Because of his hit, a number of the songs target dance crazes or are about dancing in general, but there's more to Bland than that. "Oh, You for Me" borders on rockabilly, and "Uncle Bud" has strong country elements, which only adds to the impression that Bland was either incredibly adaptable or his producers were flailing about madly trying to score a hit. Both might be true, but Bland definitely demonstrates his versatility on these cuts, and acquits himself well as a blues shouter and a pop crooner. One of his best pop ballads, the self-composed "You Took My Love for Granted," wasn't even released prior to appearing on this collection. Let the Little Girl Dance has all of Bland's chart items (most of which, other than the title track, were very minor or regional hits), plus an alternate version of "Let the Little Girl Dance." Collectables' domestic anthology shares the same title but has four fewer songs and a different track sequence. ~ Greg Adams

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"Doin' the Hully Gully/Dance by the Light of the Moon/Party Time" (03/01/1994) R&B Olympics (The), Ace Records (UK)Featuring 26 tracks, this single-disc contains three complete Olympics albums -- Doin' the Hully Gully, Dancy By the Light of the Moon, and Party Time. For any serious fan, it's indispensible, and even casual fans will be well-served by the collection. ~ Stephen Thomas Erlewine

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"Swan's Soul Sides: "Dance the Philly"" (03/14/2000) Oldies Various Artists, Kent (UK)Performers include: Sugar & Spices, Herb Johnson, The Modern Redcaps, The Sapphires.

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"Let's Dance: Monogram Sides" (08/24/1992) Oldies Montez, Chris, AcePersonnel: Chris Montez (vocals). Audio Mixer: Steve Hoffman.

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Deals on Oldies dance music in Oldies Music. Visit BizRate to find the best deals on Oldies Music. See which Music stores have the Oldies dance music that you want. Read reviews on Music merchants and buy with confidence. Find savings on And I Know You Want To Dance/Whiskey A... [10/4] - Talk That Talk (Dance That Dance) by Various Artists (CD - 10/15/1996).