Rock & Roll, When the Fire Was New (1938-1963) (A Butterboy Compilation)

 VA - Rock & Roll, When the Fire Was New (1938-1963) 

(A Butterboy Compilation) (4 x CDs)

ROCK & ROLL TIMELINE

"Before you drop the needle on this first track, let me tell you what you’re about to hear, 

because this isn’t just a box set, it’s a journey, and it’s meant to be heard in order.

What you’ve got in front of you is a timeline. Not a greatest-hits package, not a list of 

familiar names pulled out of context, but a story that unfolds track by track, year by year, 

from 1938 to 1963.

I start in 1938 because that’s where the ingredients are already on the table. 

There’s no such thing as rock & roll yet, no name for it, no category, but you can hear the 

forces gathering. 

Gospel fire, blues phrasing, jump-band swing, rhythm starting to matter more than polish. 

The music is getting louder, leaner, more physical. You can feel it wanting to move.

As this set rolls into the late 1940s, you’ll hear something click into place.

 By 1947, records start aiming directly at the body. 

The beat hardens. “Rocking” stops being a metaphor and becomes instruction. 

By 1949, the sound isn’t a fluke anymore, different artists, different studios, all arriving 

at the same rhythmic truth. That’s when rock & roll becomes recognizable, even before

 it’s officially named.

Around 1951, you’ll hear the moment when the world starts calling this thing rock & roll. 

DJs say the words. Labels market it. Cars, speed, youth, rebellion, it’s all suddenly right

 there in the grooves.

Then comes the stretch most people think they already know, 1954 to 1958, but here, 

you’ll hear it as part of a flow, not a highlight reel. This is rock & roll at full voltage, 

short records, big attitude, no filler. Rockabilly, R&B, vocal groups, instrumentals, 

all coexisting, all pushing the same beat forward. One thing to listen for here: 

no artist repeats. That’s intentional. 

This music wasn’t built by a few giants, it was built by many hands, 

often just passing through the charts once, but changing everything while they were there.

As we move into 1959 and beyond, listen closely, because this is where things

 start to stretch and pull apart. 

The sound gets smoother in places, stranger in others. 

Dance records, girl groups, surf guitars, soul polish, folk influence, 

rock & roll is everywhere 

now, but it’s no longer one voice. It’s becoming many.

And that’s why this set ends in 1963. Not because the music stops, far from it, 

but because the story changes. 

After 1963, rock & roll doesn’t disappear… 

it evolves into rock. Bands take over. 

Albums matter. Scenes form. The rules are different.

So, this box captures how rock & roll is born, how it finds its voice, how it peaks, 

and how it finishes becoming what it was always meant to be.

My advice is don’t shuffle this. Let it play straight through. 

Listen to how the beat hardens, how the attitude shifts, how the edges smooth out, 

and how, by the end, you can hear the door opening to an entirely new era.

This isn’t nostalgia. This is history, spinning at 45 revolutions per minute. 

In The majority of cases, I have used the original label mono versions.

Alright… let’s go back to the beginning." (Butterboy)

                         ==========================================================

Now we’re talking! The roots of Rock ’n’ Roll tight there and a thesis from our Butterboy

Mitski - That White Cat [Nothing’s About To Happen To Me] | HERBERG DE KELDER

 That White Cat

MitskiNothing’s About to Happen to Me

HERBERG DE KELDER

Nilüfer Yanya - Where To Look (Dancing Shoes EP, 2025) | HERBERG DE KELDER

More from Nilüfer Yanya - I like her!

Where To LookNilüfer YanyaDancing Shoes (EP)

Nilüfer Yanya - Where To Look (Dancing Shoes EP, 2025)

HERBERG DE KELDER

Robert Fripp - Trap (Steven Wilson Mix) | jt1674

  . . . so that’s where Barry Andrews ended up!?

#the league of gentlemen #robert fripp #sara lee #barry andrews #kevin wilkinson #steven wilson

https://www.tumblr.com/jt1674/812268782233010176/robert-fripp-trap-steven-wilson-mix

The Rascals - See (1969) | The Rascals - See | Guess I’m Dumb

 

• Track Name

  See

• Album

  JSJB - posted 1/11

• Artist

  Rascals

Guess says:

See - The Rascals.

Not sure if i already posted this. If i did, it was a long ass time ago and it’s time to hear it again anyway…

The Rascals - See (1969)

The Rascals, both Young and otherwise, were elected to the Rock & Roll Hall of Fame, but still don’t really get the respect they deserve. This rocking and soulful tune is really fantastic, though the lyrics are a bit lacking.

The bird of life drinks from the cups of wine

Them - Here Comes The Night (1965) | Top Hat Crew's "Live Music Archives"

Them Here Comes The Night 1965 

Top Hat Crew's "Live Music Archives"

Pretty Flamingos - John Waters (feat Divine)

 The very pinnacle of Good Taste

right there

At MOMA Oxford we had a John Waters’ film season! (again my belief was that it was organised by the legendary art buff Marco Livingstone! - he won’t thank me for mentioning I dare say!)

I nearly threw up!

PENETRATION: Moving Targets 1978 + Coming Up For Air 1979 | URBANASPIRINES

 Penetration: Moving Targets 1978 + Coming Up For Air 1979

Kostas does his usual in depth profile of Pauline Murray and PENETRATION first two albums - we loved Pauline and The Invisible girls but this a much more comprehensive look at her origins!

A KOSTAS Special

Kostas says?

"Penetration is a punk rock band from County Durham, England formed in 1976. They re-formed in 2001 with several new members. Their debut single, "Don't Dictate", is now acknowledged as a classic punk rock single and their debut album, Moving Targets (1978), is still widely admired. The band's lineup was lead singer Pauline Murray, Robert Blamire (bass), Gary Smallman (drums) and Gary Chaplin (guitar). Chaplin left in March 1978 being replaced with Neale Floyd, with second guitarist Fred Purser (later of NWOBHM act Tygers of Pan Tang) joining in July. The band dissolved in late 1979. They reformed in 2001 with original members Murray, Blamire and Smallman, and Steve Wallace and Paul Harvey drafted in as new guitarists. Pauline Murray was a force to be reckoned with. Easily one of the best singers to come out of English punk rock."

read on here . . . .

Doug Sahm - Doug Sahm And Band / Texas Tornado / Groovers Paradise | ROCKASTERIA

 Back to it people . . . thanks for your patience! I’m fine and recovered from a day in’t hospital scans and such . . . . . .we will doubtless see what they tell us!? [Nowt I suspect!] stilll here we go to catch up from yesterday let’s start with some Sir Douglas!

If you play one thing today make it this!

Doug Sahm - Doug Sahm And Band / Texas Tornado / Groovers Paradise (1973-74 USA,  2016 double disc set)

The SIR DOUGLAS QUINTET by any other name!

Great posting from Marios : who notes:

Doug Sahm began his solo career in 1972, after the Sir Douglas Quintet finished its contract with Smash/Mercury and after Atlantic Records co-owner/producer Jerry Wexler convinced him to sign to his label. Wexler gave the Texas maverick the chance to cut a star-studded, big-budget album, shuffling him off to New York where Wexler and Arif Mardin helmed a series of sessions with an ever-revolving cast of musicians featuring Bob Dylan, Dr. John, David "Fathead" Newman, David Bromberg, and Flaco Jimenez, in addition to such Sir Doug stalwarts as Augie Meyers and the rhythm section of bassist Jack Barber and drummer George Rains (all but the latter were in the last incarnation of the Quintet, raising the question of whether the group was indeed finished or not, but such is the nature of Sahm's discography). This group cut a lot of material, which was whittled down to the 12-track album Doug Sahm and Band, released in early 1973.

 At the time, the record received a push from the label and was generally disparaged because of those very all-stars on whose back it was sold, but the years have been kind indeed to the album, and it stands among Sahm's best. Indeed, the heart of the album is not at all far removed from those latter-day Sir Douglas Quintet albums on Mercury, which isn't much of a stretch since Sahm never really strayed from his signature blend of rock & roll, blues, country, and Tejano, but the bigger band and bigger production give the music a different feel -- one that's as loose as the best Quintet material, but off-handedly accomplished and slyly freewheeling. Original reviews noted that there was an overtly country direction on And Band, but that's not really true on an album that has Western swing and rambling country-rock like "Blues Stay Away from Me" and the anthemic "(Is Anybody Going To) San Antone" jutting up against pure blues in "Your Friends" and "Papa Ain't Salty," let alone loose-limbed rockers like "Dealer's Blues" and "I Get Off" or the skipping Tejano "Poison Love," fueled by Jimenez's addictive accordion. 

These are all convincing arguments that the larger band allowed Sahm to indulge in all of his passions, to the extent of devoting full tracks to each of his favorite sounds -- something that was a bit different than the Quintet records, which usually mixed it all up so it was impossible to tell where one influence ended and another began. That's still true on And Band -- for instance, witness the brilliant cover of Willie Nelson's "Me and Paul," a country song goosed by soulful horns and delivered in a delirious drawl from Sir Doug -- but much of the album finds that signature Sahm sprawl being punctuated by style-specific detours where Sahm seizes the opportunity to stretch out as much as his guests seize the opportunity to jam with this American musical visionary. 

These are all characteristics of a jam session, which these sessions essentially were -- after all, on this album he only penned three out of the 12 songs -- but relying on covers also points out how Doug Sahm sounds so much like himself, he makes other people's tunes sound as if he wrote them himself. Again, that's something that was true throughout his career, but here it is in sharper relief than most of his records due to the nature of the sessions. And while it's arguable whether this is better than latter-day Sir Douglas Quintet albums -- or such mid-'70s records as Groover's Paradise or Texas Rock for Country Rollers for that matter -- there's no question that this is music that is vividly, excitedly alive and captures Sahm at a peak. It's pretty much irresistible. 

Doug Sahm recorded much of his second Atlantic album, Texas Tornado, around the release of his first, Doug Sahm and Band, and even used outtakes from those sessions to fill out this 11-track record, so it would seem that the two records would be nearly identical. But, as they say, appearances can be deceiving, and the two albums have fairly distinct characters, at least within the frame of Sahm's music, where all his music is instantly identifiable. The biggest difference between the two records is that a good eight of the 11 songs are Doug Sahm originals -- an inversion of And Band, which relied on covers -- and most of those are produced by Sahm himself, not Jerry Wexler and Arif Mardin, who helmed its predecessor, and he gives the record a feel that's considerably more streamlined than the cheerfully rambling And Band, while giving it a little grit by more or less concentrating on rock 'n' roll.

That the exceptions arrive early and are as disarming as the "Summer Wind"-styled, Sinatra-esque crooner "Someday" and lite bossa nova groover "Blue Horizon" -- two detours that make more sense in the broader context of the complete Atlantic recordings showcased on Rhino Handmade's double-disc set The Genuine Texas Groover but are bewildering here -- gives the record an off-kilter feel that may cause some listeners to underrate what is not just a typically excellent Sahm set, but one of his strongest selections of songs. Apart from the barnstorming opener, "San Francisco FM Blues," perhaps the best attempt at shoehorning Sahm's untamed Texan feel to AOR, these all come on the dynamite second side that houses the anthemic title track, as perfect an encapsulation of his Tex-Mex fusion as they come, the rampaging roadhouse rocker "Juan Mendoza," one of his best salutes to Latin culture in the 2-step "Chicano," an excellent Sir Douglas-styled groover in "Hard Way," and the gloriously breezy "Nitty Gritty," one of his very best songs (not to mention one of his best performances, highlighted by his call to right-hand man Augie Meyers before his organ solo). 

Unlike Doug Sahm and Band, Texas Tornado is billed to the Sir Doug Band, which is not quite the Sir Douglas Quintet, but with all of his usual gang in place -- not just Meyers but bassist Jack Barber, drummer George Rains, and saxophonist Rocky Morales, among others -- it essentially is no different than a Sir Douglas Quintet album, but really that's splitting hairs since the album is simply first-rate Doug Sahm. It may be recorded toward the end of his peak period -- after this, he turned out two other arguable classics before settling into a comfortably enjoyable groove that he rode out for the rest of his life -- but it still captures him at an undeniable peak and it's undeniably irresistible.

by Stephen Thomas Erlewine

Anyone who finds hippies irritating might want to throw this record across the room -- and that's a good review right there, since it has been long established via intense scientific study that music which somehow motivates people to throw records across the room is usually quite good. No exception to this rule here, as fans of Doug Sahm often choose this as a personal favorite, while it is also one of the better side projects of the Creedence Clearwater Revival rhythm section. If Sahm was writing the review himself in 1974, he would have no doubt described the whole thing as some kind of "trip"; after all, this expression is used three times alone on the back cover of this album, actually less than one might expect considering the stoned-out nature of the accompanying comics. These black-and-white illustrations by Kelly Fitzgerald are a great part of the record's enduring charm, but the music itself is deeper than the coolie hippie vibe.

This is simply a great roots rock album, and like much of Sahm's work it is loaded with complex details as well as loving interplay between the musicians. These tracks indicate a mastery of many basic forms such as blues, rhythm & blues, norteño, country, and Cajun and the players always seem to be probing beyond this to find something new. Creedence Clearwater Revival drummer Doug Clifford produced as well as played, and did a superior job, irrigating the proceedings with a range of available Sahm streams like some kind of master gardener. The use of horns is excellent, not only providing plenty of punch in the arrangements but memorable effects such as the spooky baritone sax solo on "Just Groove Me." A large section of the sonic spread is always reserved for Sahm's lush guitar playing, including lots of rock, country, and blues licks, while bassist Stu Cook sometimes adds additional guitar, expertly mocking the patented hypnotic John Fogerty sound for an effect that is not unlike Sahm sitting in on a Creedence album. Of course, the range of that classic '60s and '70s rock group seems quite limited compared to Sahm, who whips off an expert version of the Tex-Mex instrumental "La Cacahueta," the only track here which he did not compose himself. 

The well-crafted yet daringly personal and unembarrassed songs include haunting country-influenced ballads such as "Her Dream Man Never Came," as well as really top-notch examples of good old rock & roll, the hilarious "For the Sake of Rock 'N' Roll" and the bewitchingly cooking "Devil Heart." The second side of the original vinyl is one of this artist's most perfect set of songs. The final track, "Catch Me in the Morning," is one of several on this album that benefits from a long, satisfying arrangement -- hardly the kind of simple dirt that is often tossed off the shovel in the quest for roots rock. The band tends to move through these pieces with confidence, as if already expecting to have lost the attention of the simpletons in the crowd. At the same time, there are those listeners who will find it hard to believe a simple song, let alone such a magnum opus, could be created from the almost nonexistent message of this song. "Call me in the morning, I am too tired to talk right now," is just about all this song says, and it is one of the marvels of Sahm that he is able to parlay a near-operatic sense of importance into such a typical part of daily life. Giving him an instrumental credit for being a "dreamer" -- nicely enough, it comes right after the credit for bajo sexto -- is one of the most appropriate details, or "trips," on Groover's Paradise. 

by Eugene Chadbourne 

Tracks

Disc 1 Doug Sahm And Band 1973

1. (Is anybody Going to) San Antone (Dave Kirby, Glen Martin) - 3:10

2. It's Gonna Be Easy (Atwood Allen) - 3:31

3. Your Friends (Deadric Malone) - 5:23

4. Poison Love (Elmer Laird) - 4:21

5. Wallflower (Bob Dylan) - 2:40

6. Dealer's Blues (Doug Sahm) - 2:59

7. Faded Love (Bob Wills, John Wills) - 3:55

8. Blues Stay Away From Me (A. Delmore, H. Glover, R. Delmore, W. Raney) - 4:48

9. Papa Ain't Salty (Grover McDaniel, T-Bone Walker) - 4:30

10.Me And Paul (Willie Nelson) - 3:34

11.Don't Turn Around (Doug Sahm) - 3:28

12.I Get Off (Doug Sahm) - 2:39

Disc 2  Texas Tornado / Groovers Paradise 1973-74

1. San Francisco FM Blues - 3:31

2. Someday - 3:21

3. Blue Horizon - 4:25

4. Tennessee Blues (Bobby Charles) - 5:34

5. Ain't That Loving You (Deadric Malone) - 4:58

6. Texas Tornado - 2:58

7. Juan Mendoza - 2:57

8. Chicano - 2:18

9. I'll Be There (Dave Burgess) - 2:38

10.Hard Way - 2:13

11.Nitty Gritty - 3:08

12.Groover's Paradise - 3:25

13.Devil Heart - 4:26

14.Houston Chicks - 3:52

15.For The Sake Of Rock 'N Roll - 3:21

16.Beautiful Texas Sunshine - 3:17

17.Just Groove Me - 3:27

18.Girls Today - Don't Like To Sleep Alone - 2:31

19.La Cacahuata (Peanut) (Luis Guerrero) - 1:48

20.Her Dream Man Never Came - 3:13

21.Catch Me In The Morning - 5:09

All songs by Doug Sahm except where noted

Tracks 1-11 as The Sir Douglas Band 

Bob Dylan - 1965-03-27 - Santa Monica, CA (SBD) | so many roads to ease my soul

 Bob Dylan - 1965-03-27 - Santa Monica, CA (SBD)

Bob Dylan

1965-03-27

Santa Monica Civic Auditorium

Santa Monica, CA 

TV Soundboard Recording

320 kbps

01. To Ramona 

02. Gates Of Eden 

03. If You Gotta Go, Go Now

04. It’s Alright Ma (I’m Only Bleeding) 

05. Love Minus Zero-No Limit 

06. Mr Tambourine Man 

07. Don’t Think Twice It’s All Right 

08. With God On Our Side 

09. She Belongs To Me 

10. It Ain’t Me Babe 

11. The Lonesome Death Of Hattie Carroll 

12. All I Really Want To Do 

13. It’s All Over Now Baby Blue

1960s - #6: On March 22, 1965, Bob Dylan released his 5th studio album, entitled Bringing It All Back Home. The disc would climb to #6 on the Billboard charts in the US, makling it Dylan's first top 10 album in the states. Across the pond, the album would go to the top of the British charts. With tunes such as Mr. Tambourine Man, Subterranean Homesick Blues, It’s All Over Now, Baby Blue, It’s Alright Ma (I'm Only Bleeding), and Maggie's Farm, the album would eventually be considered one of rock's masterpieces, with Rolling Stone ranking it #31 on its 2003 list of the 500 greatest albums of all time. This FM broadcast captures Dylan 5 days after the release of Bringing It All Back Home, in Santa Monica on March 27, 1965, 61 years ago today.

Pretty damn good for the period 1965! WE have this down in the vaults but if anyone hasn’t heard it check it out at so many roads - tell Speedy I said ‘Hi!'