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Perhaps the greatest limitation of Rockin' Country Style is that it is so much the product of one person. I must take the blame for any errors of omission or commission. I have received assistance of one kind or another from many people, however, and I would like to acknowledge them here.
From the very beginning of this project twenty years ago, Mark Seganish has been a continual source of ideas and encouragement, as well as information. He believed I could accomplish this task even when it was little more than a dream.
Ronnie Pugh, Bob Pinson, Don Roy, and Bill Davis of the Country Music Foundation Library have been most helpful in supporting my ongoing use of the CMF collection. Bill Davis has also been exceedingly generous in giving me access to his huge personal collection of original discs and reissue LPs.
Mike Smyth has very hospitably allowed me to work with his collection. In addition, he has offered fascinating insights on many topics both musical and non-musical.
Will Derrington, John Neal, Don Roy, and David Anderson have been very open and trusting in allowing me to use their collections.
Mitch Drumm, Don Kirsch, and Jim Stapleton devoted much time to reviewing early drafts, suggesting additions and deletions, and making corrections.
Bob Westfall loaned me his complete backfile of Kommotion and New Kommotion, two publications which proved extremely valuable.
Joe Wajgel shared his database of artist information and provided track listings for numerous reissue compilations as well as tapes of many elusive recordings. He has also been very diligent in tracking down information to fill gaps in the 1998 beta.
Chrissy Brennan, Lisa Robinson, and others at the BMI Research Department have been prompt and cheerful in providing clearance dates for the hundreds of titles I have sent them.
Marc Coulavin reviewed the 1998 beta quite thoroughly, catching many factual, logical, and typographical errors. He has also contributed track listings for many reissue compilations. In addition, most information on Canadian releases has come from him. He has also been an avid supplier of label shots.
Wayne Russell has been similarly thorough in reviewing the 1999 beta, contributing much additional information. In particular, he has been able to supply hundreds of matrix numbers, often the most difficult category of data to locate.
Michel Proost has gone through the website systematically and assisted greatly in refining the information. In addition, he has provided a great many JPEG images of rare labels.
Derek Hamilton, who has been independently building a massive database of information on reissue LPs and CDs, provided track listings for over a hundred otherwise elusive compilations. He has also generously loaned me his extensive collection of Bear Family catalogs, a treasure trove of reissue information.
Tom Fallon has made tapes of many hard-to-find discs, especially on Ohio labels.
Malcolm Chapman has opened up his massive archive of discographic data to fill in much missing information. He has also shared an impressive list of Rite pressings.
Adam Komoroski, whose New Kommotion magazine has been immensely useful, has also shared information from his comprehensive upcoming discography Rare Rockin' Records.
Tom Lincoln, co-compiler of the excellent Guide to Rare Rockabilly and Rock n' Roll 45 RPMs, has kindly shared his knowledge with me and permitted me to examine the many rare discs in his collection.
Peter Staehli has shared with me his files on reissue compilation LPs, enabling me to add year and country of origin to several hundred comps.
Tapio Vaisanen has assisted in two ways: directly, as supplier of numerous compilation track listings and other data; and, indirectly, as owner of the Rockinrecords Internet discussion list, whose members have been quite helpful (for more information, see http://groups.yahoo.com/group/rockinrecords).
Perica Sucevic and the other members of the now defunct Napsterrockabilly discussion list have also been very helpful.
Chris Ebner, a writer for the German collector magazine Rockin' Fifties has generously provided an extensive back run of that discographically rich publication to support my research. For more information, see http:www.rockinfifties.de)
Udo Frank has sent photocopies of dozens of LPs from his collection, and has submitted information on dozens of artists.
The following additional websites have proven very useful:
Appropriate acknowledgments appear on individual artist, label, and comp pages. Here is a consolidated list of the individuals, publications, and organizations credited on those pages (plus some people whose contributions did not really pertain to individual pages):
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My apologies to anyone I have inadvertently forgotten to include.
I must also acknowledge my debt to the countless writers and discographers from whose books and articles I have drawn information and inspiration. I hope that they will not object to the use I have made of their publications.
| Compilation & presentation © 2019, Terry E. Gordon | This page generated on 03/31/23 |
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