Black Girl Dreaming

Lynette Charity's grit, grief, and gratitude will have readers rooting for this timeless memoir about growing up in the early '60s South and overcoming all the odds against her to become a doctor in a time when the idea of a Black woman physician was practically unheard of.

2017 three CD set. One of RPM Records defining releases remains the Dream Babes series, the Brit Girl Sound collections which started in 1994 and ran until 2007 reaching volume 8. The scene for collecting such sounds has only grown bigger and more international since then. Now it is time for RPM's concluding word on the subject of it's own series with this set. 80 tracks, none duplicated from the DB series, many tracks fresh to CD, five tracks previously unreleased. Compiled with much learned, many archive tapes unearthed, and recordings dug from crates since the series last volume. Spanning the full spectrum of the scene, known for it's gratifying diversity, the box set offers slick originals and intriguing covers, from early girls to late girls, beat girls, folk girls, hippy girls and mod girls. Here, you'll also find the brash teeners, the raw belters, the wistful balladeers, the brassy pub singers, the breathy harmonizers and the bluesy shouters. There are Essex girls, lasses from Lancashire, Glasgwegians and hey there Geordie girls, Chelsea debs and daughters of Cardiff and Coventry, Stoke and Southend. The Commonwealth gets a nod too, with Kiwi gals and Caribbean queens. Not forgetting Schoolgirls and secretaries, convent girls and actresses, daughters of diplomats, god-daughters of royalty and stars before they were stars.

2017 three CD set. One of RPM Records defining releases remains the Dream Babes series, the Brit Girl Sound collections which started in 1994 and ran until 2007 reaching volume 8. The scene for collecting such sounds has only grown bigger and more international since then. Now it is time for RPM's concluding word on the subject of it's own series with this set. 80 tracks, none duplicated from the DB series, many tracks fresh to CD, five tracks previously unreleased. Compiled with much learned, many archive tapes unearthed, and recordings dug from crates since the series last volume. Spanning the full spectrum of the scene, known for it's gratifying diversity, the box set offers slick originals and intriguing covers, from early girls to late girls, beat girls, folk girls, hippy girls and mod girls. Here, you'll also find the brash teeners, the raw belters, the wistful balladeers, the brassy pub singers, the breathy harmonizers and the bluesy shouters. There are Essex girls, lasses from Lancashire, Glasgwegians and hey there Geordie girls, Chelsea debs and daughters of Cardiff and Coventry, Stoke and Southend. The Commonwealth gets a nod too, with Kiwi gals and Caribbean queens. Not forgetting Schoolgirls and secretaries, convent girls and actresses, daughters of diplomats, god-daughters of royalty and stars before they were stars.

2017 three CD set. One of RPM Records defining releases remains the Dream Babes series, the Brit Girl Sound collections which started in 1994 and ran until 2007 reaching volume 8. The scene for collecting such sounds has only grown bigger and more international since then. Now it is time for RPM's concluding word on the subject of it's own series with this set. 80 tracks, none duplicated from the DB series, many tracks fresh to CD, five tracks previously unreleased. Compiled with much learned, many archive tapes unearthed, and recordings dug from crates since the series last volume. Spanning the full spectrum of the scene, known for it's gratifying diversity, the box set offers slick originals and intriguing covers, from early girls to late girls, beat girls, folk girls, hippy girls and mod girls. Here, you'll also find the brash teeners, the raw belters, the wistful balladeers, the brassy pub singers, the breathy harmonizers and the bluesy shouters. There are Essex girls, lasses from Lancashire, Glasgwegians and hey there Geordie girls, Chelsea debs and daughters of Cardiff and Coventry, Stoke and Southend. The Commonwealth gets a nod too, with Kiwi gals and Caribbean queens. Not forgetting Schoolgirls and secretaries, convent girls and actresses, daughters of diplomats, god-daughters of royalty and stars before they were stars.

2017 three CD set. One of RPM Records defining releases remains the Dream Babes series, the Brit Girl Sound collections which started in 1994 and ran until 2007 reaching volume 8. The scene for collecting such sounds has only grown bigger and more international since then. Now it is time for RPM's concluding word on the subject of it's own series with this set. 80 tracks, none duplicated from the DB series, many tracks fresh to CD, five tracks previously unreleased. Compiled with much learned, many archive tapes unearthed, and recordings dug from crates since the series last volume. Spanning the full spectrum of the scene, known for it's gratifying diversity, the box set offers slick originals and intriguing covers, from early girls to late girls, beat girls, folk girls, hippy girls and mod girls. Here, you'll also find the brash teeners, the raw belters, the wistful balladeers, the brassy pub singers, the breathy harmonizers and the bluesy shouters. There are Essex girls, lasses from Lancashire, Glasgwegians and hey there Geordie girls, Chelsea debs and daughters of Cardiff and Coventry, Stoke and Southend. The Commonwealth gets a nod too, with Kiwi gals and Caribbean queens. Not forgetting Schoolgirls and secretaries, convent girls and actresses, daughters of diplomats, god-daughters of royalty and stars before they were stars.

Over the last few years Ace has built up a series of prime British female pop releases, with individual collections drawn from four of the country's leading record companies of the 1960s: Decca, Pye, EMI and, most recently, Philips. With this latest compilation, rather than spotlight a particular company, the focus is on a location: the music hotbed of Merseyside. While male beat groups ruled the Merseyside roost in the 60s, the area was also home to its fair share of female talent. To illustrate the point, here are 25 hand-picked girl-pop artefacts from thereabouts. Liverpool's pop queen Cilla Black is featured with her two most Merseybeat-oriented tracks, including a terrific version of A Shot Of Rhythm And Blues, the first song she ever recorded at Abbey Road. Guitar-toting cover girls the Liverbirds, who released no records in the UK but were stars in Germany where their repertoire of Bo Diddley and Chuck Berry numbers made them favourites at the Star-Club also appear twice.

Over the last few years Ace has built up a series of prime British female pop releases, with individual collections drawn from four of the country's leading record companies of the 1960s: Decca, Pye, EMI and, most recently, Philips. With this latest compilation, rather than spotlight a particular company, the focus is on a location: the music hotbed of Merseyside. While male beat groups ruled the Merseyside roost in the 60s, the area was also home to its fair share of female talent. To illustrate the point, here are 25 hand-picked girl-pop artefacts from thereabouts. Liverpool's pop queen Cilla Black is featured with her two most Merseybeat-oriented tracks, including a terrific version of A Shot Of Rhythm And Blues, the first song she ever recorded at Abbey Road. Guitar-toting cover girls the Liverbirds, who released no records in the UK but were stars in Germany where their repertoire of Bo Diddley and Chuck Berry numbers made them favourites at the Star-Club also appear twice. The Breakaways, the Vernons Girls and Beryl Marsden three other acts intrinsically associated with Liverpool are also featured. Along with a selection of proven fan favourites, the collection contains many lesser-known gems, among them new-to-CD tracks by the Three Bells, Nola York, Tiffany, Lyn Cornell, Cindy Cole and, not least, Samantha Jones, whose hitherto-unreleased-in-any-format I Don't Want To Lose Him was recorded with visiting American producer Teddy Randazzo. Read all about these and the other featured artists in the accompanying picture-packed 28-page booklet, which contains a 7,000-word note by compiler Mick Patrick and genre expert Ian Chapman.

Over the last few years Ace has built up a series of prime British female pop releases, with individual collections drawn from four of the country's leading record companies of the 1960s: Decca, Pye, EMI and, most recently, Philips. With this latest compilation, rather than spotlight a particular company, the focus is on a location: the music hotbed of Merseyside. While male beat groups ruled the Merseyside roost in the 60s, the area was also home to its fair share of female talent. To illustrate the point, here are 25 hand-picked girl-pop artefacts from thereabouts. Liverpool's pop queen Cilla Black is featured with her two most Merseybeat-oriented tracks, including a terrific version of A Shot Of Rhythm And Blues, the first song she ever recorded at Abbey Road. Guitar-toting cover girls the Liverbirds, who released no records in the UK but were stars in Germany where their repertoire of Bo Diddley and Chuck Berry numbers made them favourites at the Star-Club also appear twice.

Over the last few years Ace has built up a series of prime British female pop releases, with individual collections drawn from four of the country's leading record companies of the 1960s: Decca, Pye, EMI and, most recently, Philips. With this latest compilation, rather than spotlight a particular company, the focus is on a location: the music hotbed of Merseyside. While male beat groups ruled the Merseyside roost in the 60s, the area was also home to its fair share of female talent. To illustrate the point, here are 25 hand-picked girl-pop artefacts from thereabouts. Liverpool's pop queen Cilla Black is featured with her two most Merseybeat-oriented tracks, including a terrific version of A Shot Of Rhythm And Blues, the first song she ever recorded at Abbey Road. Guitar-toting cover girls the Liverbirds, who released no records in the UK but were stars in Germany where their repertoire of Bo Diddley and Chuck Berry numbers made them favourites at the Star-Club also appear twice.