Tuesday, July 28, 2015

The Best Of Newark Gospel

Some truly wonderful stuff here including a bunch of Marion Williams tracks!

No memory of the origin of this, but thanks to the original uploader!

Sunday, July 26, 2015

Powerhouse Gospel of Independent Labels 1946-1959

A repost by request for her LOLness.

A pleasant good morning my brothers and sisters - Deacon Kingcake here - I am sitting in my coffee shop this morning with sweet gospel sounds playing on the system (Cliff and I have taken over their drive) and this Sunday I have a special collection of sanctified sounds. The wonderful folks at JSP have put out some marvelous Gospel sets over the last 10 years - this set set focus' on the rafter shaking, powerhouse Gospel that is my personal

favorite.

The Brooklyn All Stars - On Peacock and Nashboro

Happy Sunday, Chitlins' people!  Please allow me to make an offering today for your spiritual nourishment - vintage recordings of Hardie Clifton and the Brooklyn All Stars.  Hardie Clifton may not be a household name in the USA, but he most certainly had one of the great voices in gospel during the late 50s through the 80s.  He possessed a powerful, soaring falsetto that he could alternatively drench with Sam Cooke-esque sweet soul or break into rough scream.   I have packaged together here three dynamite singles that the Brooklyn All Stars waxed under their first recording track for Peacock, together with a collection on Nashboro that was briefly available on CD under the title "The Best of the Brooklyn All Stars."  
The first six tracks here come from Peacock, while the remaining 14 tracks comprise the disc pictured on the right.

The Brooklyn All Stars were formed by Charlie Storey in New York immediately after World War II.  He recruited the exceptional bass-baritone Thomas Spann, who took over the leadership of the group in the mid-50s when Storey left for other waters.  Thomas Spann continued to lead the Brooklyn All Stars well into the new millennium.  He is very much alive today, and just celebrated his 90th birthday last month.    

The Brooklyn All Stars rose to prominence after Spann recruited the teenage Hardie Clifton in the latter 1950s and trained him vocally.  This led to recording opportunities with Peacock and the the three precious singles included here.   They are all superb, with "Careless Soul" perhaps the greatest of all of them, a true masterpiece and showcase for Hardie Clifton.  "Singing for the Lord" is another stone masterpiece.

By the time that the Brooklyn All Stars signed with Nashboro in the 1960s, Jimmy Outler had briefly joined the group.  A dedicated disciple of Sam Cooke, Jimmy Outler had just succeeded remarkably well in the very challenging job of filling Johnnie Taylor's shoes, who had filled Sam Cooke's shoes as lead singer of the Soul Stirrers.  A run-in with the law soon forced Outler into hiding, however, and his work with the Brooklyn All Stars here was actually done under an assumed name. On the Nashboro sides included here, Clifton and Outler alternate leads.  There are many highlights among the Nashboro recordings.  I have a particular attachment to Hardie Clifton's delivery of "Nobody's Fault But Mine."


The Brooklyn All Stars went from Nashboro to Jewel in the 1970s, and released a number of high quality albums, many of them featuring Thomas Spann more prominently that had been the case in the past.  Hardie Clifton passed in 1990, but the Brooklyn All Stars kept going.


Saturday, July 25, 2015

Blind John Davis/Hot Lips Page - Nothin' But The Blues/The Blues Jumped The Rabbit

Here is a fun thing found out on the torrents - 2 albums: A 1973 live date from Blind John Davis is my primary interest here, but the undated Hot Lips Page disc is certainly worth the listen too!

Wednesday, July 22, 2015

Collectors Album - C.J.'s Roots of Chicago Blues

This is a repost of my 2012 post, I've redone the rip at least once since then.

 LOOK CLOSELY my friends, it does not get much rarer than this! (unless of course you are talking volumes 2 & 3) Three records were ever published on Blue Flame, this one, a Volume 2, and a Volume 3! My friend Cliff bought this in the mid 70's prior to leaving Chicago; the record is still in good shape! (Blue Flame was a independent Chicago Blues weekly) A copy of Vol. 2 was posted in 2012 @ 'Don't Ask Me... Blog. To date I only know of the existence of a third volume through comments elsewhere.


"Little Mack Simmons (January 25, 1933 — October 24, 2000) was an African American, Chicago blues harmonica player, singer and songwriter.
Malcolm Simmons was born in Twist, Arkansas. In his youth he befriended James Cotton, and they grew up learning to play the harmonica. Simmons relocated to St. Louis, Missouri, at the age of 18 and worked on the railroad. At this time Simmons made his stage debut with Robert Nighthawk.

In 1954 he moved again to Chicago, put together his own backing band, and had a five year residency at Cadillac Baby's. He commenced recording in 1959, issuing records on a number of labels including Chess.
 


In the late 1950s and early 1960s Simmons recorded several more obscure singles, often simply billed as Little Mack (or Mac). Simmons went on to provide the opportunity for others talents to be seen. He owned and managed Chicago's Zodiac Lounge from the mid to late 1960s. In addition, he owned a recording studio and recorded on his own labels, PM Records and Simmons Records. Simmons left the music industry at that time for the ministry, and was rarely heard in 30 years, notwithstanding an album he recorded in 1975 in Paris, France.

His return to blues music arrived with High & Lonesome (1995), which was an early success for St. George Records, an independent record label. Simmons' energetic style, accompanied by Studebaker John, belied his years. Come Back to Me Baby (1996), with featured sidemen John Primer, Willie Kent and Jake Dawson (guitarist) was also well received.
Simmons died in October 2000, of colon cancer, in his adopted hometown of Chicago, at the age of 67."

Homesick James (May 3, 1914 – December 13, 2006) was an American blues musician. He most notably played slide guitar, and recorded covers of "Stones In My Passway" and "Homesick". James worked with his cousin, Elmore James, and Sonny Boy Williamson II. He was born in Somerville, Tennessee, United States, the son of Cordellia Henderson and Plez Williamson Rivers, who were both musicians. He developed a self-taught style of slide guitar through playing at local dances in his teens. Little is known about his early life. He claimed to have played with Yank Rachell, Sleepy John Estes, Blind Boy Fuller and Big Joe Williams, among others, and to have been acquainted with Robert Johnson. He also claimed to be the older cousin of Elmore James, to have bought James his first guitar, and to have taught him how to play slide. However, some of these claims are unconfirmed.

By the mid 1930s he was based in Chicago, and working with Horace Henderson's band at the Circle Inn, and with pianist Jimmy Walker at the Square Deal Club. He may have first recorded for RCA Victor in 1937, but this is also unconfirmed, and by 1938 may have begun playing electric guitar. His first known recordings were in 1952 for Chance Records, recording the tracks "Lonesome Ole Train" and "Homesick" which gave him his stage name. During the late 1940s and 1950s he worked with both Sonny Boy Williamson II (Rice Miller), and with Elmore James, and in the early 1950s he worked in bands including Baby Face Leroy Foster, Snooky Pryor, Floyd Jones, and Lazy Bill Lucas. He was a longtime member of Elmore James' band from 1955 to 1963, contributing to such tracks as "Dust My Broom," "The Sky Is Crying," and "Roll and Tumble." Elmore James is said to have died on Homesick's couch, while the latter frantically searched for the former's heart pills.

As a solo performer, he recorded for the Colt and USA labels in 1962, including a cover version of Robert Johnson's "Crossroads". Homesick James's slide guitar style, not as refined as Elmore James', traces back to Johnson's. He also recorded a 1964 album for Prestige Records, Blues On the South Side (Prestige OBCCD 529-2), including another of his best-known covers, "Stones In My Passway", and some tracks for Vanguard that are available on the compilation album Chicago: The Blues Today. One of his own songs, "Gotta Move" (also on Blues On the South Side) was covered (as "Got To Move") both by Elmore James and Fleetwood Mac."

Theodore Roosevelt "Hound Dog" Taylor (April 12, 1915 - December 17, 1975) was an American Chicago blues guitarist and singer. Taylor was born in Natchez, Mississippi in 1915 (although some sources say 1917). He originally played piano, but began playing guitar when he was 20. He moved to Chicago in 1942.

He became a full-time musician around 1957 but remained unknown outside of the Chicago area where he played small clubs in the black neighborhoods and also at the open-air Maxwell Street Market. He was known for his electrified slide guitar playing roughly styled after that of Elmore James, his cheap Japanese Teisco guitars, and his raucous boogie beats. He was also famed among guitar players for having six fingers on his left hand.

After hearing Taylor with his band, the HouseRockers (Brewer Phillips on second guitar and Ted Harvey on drums) in 1970 at Florence's Lounge on Chicago's South Side, Bruce Iglauer - at the time a shipping clerk for Delmark Records - tried to get him signed by his employer.  Having no success getting Delmark to sign Taylor, Iglauer formed a small record label with a $2500 inheritance and recorded Taylor's debut album, Hound Dog Taylor and the HouseRockers, on his fledgling Alligator Records in 1971. It was the first release on Alligator, now a major blues label. It was recorded in a studio in just two nights. Iglauer began managing and booking the band, which toured nationwide and performed with Muddy Waters and Big Mama Thornton. The band became particularly popular in the Boston area, where Taylor inspired a young protégé named George Thorogood. A live album Live At Joe's Place documented a Boston appearance from 1972.

Their second release, Natural Boogie, was recorded in late 1973, and led to greater acclaim and touring. In 1975, Taylor and his band toured Australia and New Zealand with Freddie King and Sonny Terry and Brownie McGhee. His third Alligator album, Beware of the Dog, was recorded live in 1974 but was only released after his death. More posthumous releases occurred as well, including Genuine Houserocking Music and Release the Hound, on the Alligator label as well as some bootleg live recordings.

Taylor died of lung cancer in 1975, and was buried in Restvale Cemetery in Alsip, Illinois.

Taylor was posthumously inducted into the Blues Hall of Fame in 1984.

Sunday, July 19, 2015

Wings Over Jordan Choir - Trying To Get Ready

The WINGS OVER JORDAN CHOIR (WOJC), a prominent African American choir during the late 1930s and early 1940s, made broadcast history with the first independently produced national and international radio programs created by AFRICAN AMERICANS. The group made contributions to choral music and the improvement of race relations. The choir was founded in 1935 by the Rev. GLENN T. SETTLE , pastor of Gethsemane Baptist Church on E. 30th and Scovill Ave. in Cleveland. Rev. Settle believed in using Negro spirituals to spread Christianity. He promoted establishing a radio program to address the Negro community and introduce the non-Negro to the Negro experience. In 1937, the ensemble performed weekly on the "Negro Hour" over RADIO station WGAR, a CBS affiliate. It soon became a hit.

On 9 Jan. 1938 the group adopted the (Image)(Image) name Wings Over Jordan Choir and The Wings Over Jordan national broadcasting began. WOJC Choir, ca. 1940s. WRHS. performed a decade long series of weekly, sometimes daily, programs for CBS and WGAR exclusively. WOJC was the first full-time professional black choir in America. At its height, the choir performed before sold-out, non-segregated audiences in over 40 states, 5 European countries, Canada, and Mexico. During WORLD WAR II, under USO sponsorship, WOJC toured Army camps in Europe. WOJC's fame resulted in the publication of a songbook and record album, a movie contract, performances with major symphony orchestras, and an invitation to sing at the White House. The choir received numerous honors, including radio's prestigious Peabody Award.

Sunday, July 12, 2015

Georgia Peach - Lord Let Me Be More Humble in This World

In 2005, the Swedish label Gospel Friend released Lord Let Me Be More Humble in This World, a 24-track sampling of records cut during the years 1930-1960 by the amazing Georgia Peach, a powerhouse Pentecostal singer whose career paralleled those of Sister Rosetta Tharpe and Mahalia Jackson. Although examples of her work have resurfaced on gospel collections originating from various countries, Lord Let Me Be More Humble in This World appears to have been the first digital-age album devoted exclusively to the works of Georgia Peach. It includes "Now Is the Needy Time" from her first recording session (which took place in December 1930), but somehow omits the most celebrated title from that date, "Stand by Me." Neither does it contain her 1932 rendition of "When the Saints Go Marching In," although the flipside of that popular Banner record, "Who Is That Knocking?" is on the track list. On later recordings she is backed by vocal groups like the Reliable Jubilee Singers, the Harmonaires, and the Sky Light Singers. The tune selection, photographs, and historical data make this an uncommonly fine tribute to a ridiculously underappreciated artist. AMG