Professor Longhair - New Orleans R&B Founding Father

Professor Longhair (December 19, 1918 – January 30, 1980; born Henry Roeland Byrd, also known as Roy "Bald Head" Byrd and as Fess) was a New Orleans blues singer and pianist. Professor Longhair is noteworthy for having been active in two distinct periods, both in the heyday of early rhythm and blues, and in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival.

The journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray, stated "The vivacious rhumba-rhythmed piano blues and choked singing typical of Fess were too weird to sell millions of records; he had to be content with siring musical offspring who were simple enough to manage that, like Fats Domino or Huey "Piano" Smith. But he is also acknowledged as a father figure by subtler players like Allen Toussaint and Dr. John."

Professor Longhair was born on December 19, 1918 in Bogalusa, Louisiana. He made a living as a street hustler until he started to play piano seriously in his thirties. He taught himself how to play on a piano with missing keys so his style became distinct.

He began his career in New Orleans in 1948, earning a gig at the Caldonia Club, where the owner, Mike Tessitore, bestowed Longhair with his stage name (due to Byrd's shaggy coiffure). Longhair first recorded in 1949, creating four songs (including the first version of his signature song, "Mardi Gras in New Orleans," complete with whistled intro) for the Dallas, Texas based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time. Union problems curtailed their release, but Longhair's next effort for Mercury Records the same year was a winner. Throughout the 1950s, he recorded for Atlantic Records, Federal Records and other, local, labels. Professor Longhair had only one national commercial hit, "Bald Head" in 1950, credited to Roy Byrd & His Blues Jumpers. He also recorded his pet numbers "Tipitina", "Big Chief" and "Go to the Mardi Gras". However, he lacked the early crossover appeal of Fats Domino for white audiences.

After recuperating from a minor stroke, Professor Longhair came back in 1957 with "No Buts - No Maybes."  He revived his "Go to the Mardi Gras" in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans.

In the 1960s Professor Longhair's career faltered. He became a janitor to support himself, and fell into a gambling habit. (He played weekly 'shows' in his own parlor during this time and spent a lot of time mentoring younger players. kc)

He appeared at the 1971 New Orleans Jazz and Heritage Festival to restore his standing, and played at the 1973 Newport Jazz Festival and the Montreux Jazz Festival. His recorded live set, Live on the Queen Mary (1978) came from a party given by Paul and Linda McCartney. His single visit to the UK, in 1978, was commemorated by The London Concert.

By the 1980s his albums, such as Crawfish Fiesta on Alligator and New Orleans Piano for Atlantic, had become readily available across America.  He appeared on the PBS series Soundstage (with Dr. John, Earl King, and The Meters) and co-starred in the film documentary Piano Players Rarely Ever Play Together.  The latter became a memorial tribute when Longhair died in his sleep from a heart attack in the middle of filming. Footage from his funeral was included.

In 1981 he was inducted into the Blues Hall of Fame. He was awarded a posthumous Grammy for his early recordings released as House Party New Orleans Style, and in 1992 was inducted into the Rock and Roll Hall of Fame.

In the notes to this set you will find a seemingly incomprehensible dismissal of Byrd's contributions from no less than Earl Palmer. For one blinded by Palmer's giant talent and undeniably colossal contributions of his own, this may seem troubling. One has to consider Palmer's titantic ego and the fact that he clearly didn't understand ANYTHING about Fess' influences or personality. Was Fess an educated man, no, was he a smart man, undeniably yes! What Earl considered him being unconsciously comical was in fact entirely deliberate, and a speech pattern of flowery but incorrect language that was common amongst very intelligent but undereducated black men of the time. Fess knew the difference between 'c minus' and 'c minor' but preferred his own language. Earl was a perfect example of the stratification of black society of the time and the deep prejudices retained within the black and Creole communities. It is a common syndrome; everyone needs to feel superior to someone! History has given Fess his due!  (btw that is his house today) 

Consider this: "In the 1940s Professor Longhair was playing with Caribbean musicians, listening a lot to Perez Prado's mambo records, and absorbing and experimenting with it all. He was especially enamored with Cuban music. Longhair's style was known locally as rumba-boogie. Alexander Stewart states that Longhair was a key figure bridging the worlds of boogiewoogie and the new style of rhythm and blues."[In his composition "Misery," Professor Longhair plays a habanera-like figure in his left hand. The deft use of triplets in the right hand is a characteristic of Longhair's style.
"Misery" by Professor Longhair (1957).

Tresillo, the habanera, and related African-based single-celled figures have long been heard in the left hand part of piano compositions by New Orleans musicians, for example—Louis Moreau Gottschalk ("Souvenirs From Havana" 1859), and Jelly Roll Morton ("The Crave" 1910). One of Longhair's great contributions was the adaptation of Afro-Cuban two-celled, clave-based patterns in New Orleans blues. Michael Campbell states: "Rhythm and blues influenced by Afro-Cuban music first surfaced in New Orleans. Professor Longhair’s influence was . . . far reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair’s Blues Rhumba,' where he overlays a straightforward blues with a clave rhythm." The guajeo-like piano part for the rumba-boogie "Mardi Gras in New Orleans" (1949), employs the 2-3 clave onbeat/offbeat motif. The 2-3 clave time-line is written above the piano excerpt for reference.

According to Dr. John (Malcolm John "Mac" Rebennack, Jr.), the Professor "put funk into music . . . Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans." This is the syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions). Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s," adding: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes. Concerning funk motifs, Stewart states: "This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."

Roy Brown New Orleans R&B Founding Father

New Orleans own Roy Brown certainly qualifies as one of the Founding Fathers of R&B in the 'Blues Shouter' school which is based on a style largely pioneered by Big Joe Turner in the Swing era. Big Joe didn't really convert to R&B until around 1950 so some of the earliest recordings that you would call R&B come from Brown, Wynonie Harris and a fellow who sang with Tiny Bradshaw and Ike Turner named Johnny O'Neal, aka Brother Bell, aka Burnt-Face O'Neal.  

"Roy James Brown (September 10, 1925 — May 25, 1981) was an American R&B singer, songwriter and musician, who had an influence on the early development of rock and roll by changing the direction R&B was headed in. His original song and hit recording "Good Rocking Tonight" was covered by Wynonie Harris, Elvis Presley, Ricky Nelson, Jerry Lee Lewis, Pat Boone, and the rock group Montrose. Brown was the first singer in recording history to sing R&B songs with a gospel-steeped delivery, which was then considered taboo by many churches. In addition, his melismatical pleading, vocal style influenced B.B. King, Bobby Bland, Elvis Presley, Jackie Wilson and Little Richard.

Brown was born in New Orleans, Louisiana, United States. As with many R&B singers, he started singing gospel music in the church. His mother was an accomplished singer and church organist.  After a move to Los Angeles, California some time in the 1940s, and a brief period spent as a professional boxer in the welterweight category, he won a singing contest in 1945 at the Million Dollar Theater covering "There's No You", originally recorded by Bing Crosby. In 1946, Brown moved to Galveston, Texas, where he sang in Joe Coleman's group performing mostly songs from the Hit Parade, in a club called the Club Granada. His numbers included a song he wrote entitled "Good Rocking Tonight". After being rejected by the Armed Forces because of flat feet, he secured his first major job in a Shreveport, Louisiana club singing mostly pop ballads such as "Stardust" and "Blue Hawaii." The owner of Bill Riley's Palace Park hired him, as Brown told a Blues Unlimited interviewer, because of his appeal as "a Negro who sounds white." It was at the Palace Park that Brown started developing a blues repertoire, learning contemporary R&B tunes such as "Jelly Jelly" (recorded by Billy Eckstine). He returned to New Orleans in 1947, where he performed at The Dew Drop Inn.
Brown was a big fan of blues singer Wynonie Harris. When Harris appeared in town, Brown tried but failed to interest Harris in listening to "Good Rocking Tonight." Dejected, Brown approached another blues singer, Cecil Gant who was appearing at another club in town. Brown introduced his song, and Gant had Brown to sing it over the telephone to the president of De Luxe Records, Jules Braun, reportedly at 4:00 in the morning. Brown was signed to a recording contract immediately. Brown recorded the song in a jump blues style with a swing beat. It was released in 1948 and reached #13 on the US Billboard R&B chart. Ironically, Wynonie Harris covered it and hit the top of Billboard's R&B chart later in 1948. Presley also covered the song for Sun Records in 1954; later re-released on RCA Victor when his recording contract was sold to that record label in 1956.

Brown continued to make his mark on the R&B charts, scoring 14 hits from mid-1948 to late 1951 with De Luxe, including "Hard Luck Blues" (his biggest seller in 1950), "Love Don't Love Nobody", "Rockin' at Midnight," "Boogie at Midnight," "Miss Fanny Brown," and "Cadillac Baby", making him the undisputed king of R&B for those three years.

After his popularity peaked, Brown began to experience a lull in his career. Doo-wop and R&B groups were quickly gaining popularity as the standard sound of R&B in the early to mid 1950s. The decline of his fortunes coincided with his successfully winning a lawsuit against King Records for unpaid royalties in 1952, one of the few African American musicians to do so in the 1950s. This has led some, such as author Nick Tosches (in his book Unsung Heroes of Rock 'n' Roll, which contained a chapter on Brown) to believe that Brown may have been blacklisted. Brown's other misfortunes included trouble with the IRS. When confronted by the government for back taxes he owed, he approached Elvis Presley to ask for help. Presley wrote him a brown paper check, but it wasn't enough to keep him out of jail. Brown did a little prison time for tax evasion. When his popularity ebbed in the rock and roll era, he tried teen-slanted songs like "School Bell Rock", but had little success and subsequently went into semi-retirement.

Brown had a brief comeback through Imperial Records in 1957. Working with Dave Bartholomew, Brown returned to the charts with the original version of "Let the Four Winds Blow" (co-written by Fats Domino), which would become a hit later for Domino.

He returned to King Records where his popularity ground down to a low by 1959, but he sporadically managed to find work and do some recording through the 1960s, making appearances where ever he was wanted. To supplement his income, Brown sold the rights to "Good Rocking Tonight." He also worked as an encyclopedia salesman.

In 1970, Brown closed The Johnny Otis Show at the Monterey Jazz Festival. As a result of the crowd's positive reaction, he recorded "Love for Sale", which became a hit for Mercury Records.

In the late 1970s a compilation album of his old work brought about a minor revival of interest. In 1978 he had a successful tour in Scandinavia following the releases of Laughing But Crying and Good Rocking Tonight. Shortly before his death he performed at the Whisky A Go-Go in West Hollywood, California and headlined the New Orleans Jazz and Heritage Festival in 1981.

Brown died of a heart attack, at Pacoima Lutheran Memorial Hospital, near his home in the San Fernando Valley on May 25, 1981. He was 55 years old. The Reverend Johnny Otis conducted the funeral. He was posthumously inducted into the Blues Hall of Fame the same year.

The Essential Magic Sam

Samuel "Magic Sam" Gene Maghett (February 14, 1937 – December 1, 1969) was an American Chicago blues musician. Maghett was born in Grenada, Mississippi, United States, and learned to play the blues from listening to records by Muddy Waters and Little Walter. The family moved to Chicago when Sam was 13. Shortly afterward another Mississippi family moved in next door and Sam met best friend Syl Thompson (nee Johnson) with whom he had his first bands. At the age of nineteen, he was signed by Cobra Records and became well known as a bluesman after his first record, "All Your Love" in 1957. He was known for his distinctive tremolo-guitar playing.

Sam recorded for Cobra Records from 1957 to 1959, recording singles, including "All Your Love" and "Easy Baby". They did not appear on the record charts, yet they had a profound influence, far beyond Chicago's guitarists and singers. Together with recordings by Otis Rush and Buddy Guy (also Cobra artists), they made a manifesto for a new kind of blues.  Around this time Sam also worked briefly with Homesick James Williamson. Sam gained a following before being drafted into the Army. Not a natural soldier, Sam deserted after a couple of weeks' service and was subsequently caught and sentenced to six months imprisonment. He was given a dishonourable discharge on release, but the experience had undermined his confidence and immediate recordings for Mel London's Chief Records lacked the purpose of their predecessors.

In 1963, he gained national attention for his single "Feelin' Good (We're Gonna Boogie)". After successful touring of the US, UK, and Germany, he was signed to Delmark Records in 1967, where he recorded West Side Soul and Black Magic. He also continued performing live and toured with blues harp player Charlie Musselwhite and Sam Lay.

Sam's breakthrough performance was at the Ann Arbor Blues Festival in 1969, which won him many bookings in the U.S. and Europe. His life and career was cut short when he suddenly died of a heart attack in December 1969. He was 32 years old. He was buried in the Restvale Cemetery in Alsip, Illinois. In February 1970, the Butterfield Blues Band played at a benefit concert for Magic Sam, at Fillmore West in San Francisco. Also on the bill were Mike Bloomfield, Elvin Bishop, Charlie Musselwhite, and Nick Gravenites.

His guitar style, vocals, and songwriting ability have inspired and influenced many blues musicians ever since. In The Blues Brothers, Jake Blues dedicates the band's performance of "Sweet Home Chicago" to the "late, great Magic Sam".

The stage name, Magic Sam, was devised by Sam's bass player and childhood friend Mack Thompson (Syl's older brother), at Sam's first recording session for Cobra, from an approximation of "Maghett Sam". The name Sam was using at the time, Good Rocking Sam, was already being used by another artist.

"Magic Sam had a different guitar sound," said his record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love", he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."

Jump 'N' Shout! - New Orleans Blues And Rhythm

I scanned all of the notes for this little gem, so I won't get too much into the historical significance of this album. It's a collection of the hottest R&B New Orleans had to offer in the 40's and 50's. These artists recorded under the Regal, Deluxe or United labels.

What I will say is, wow! This collection is a real treasure that will instill pride in anyone with a stake in NOLA. For those who don't know what it means to miss New Orleans, a sense of romanticism will be hard to suppress.

I was only aware of Dave Bartholomew when I popped this in, but found myself clamouring for the notes every time the track changed. Technically we are listening to 40's/50's R&B, but at that point in time, the music was still holding on strongly to jump blues. There's a sense of swing on every track, some light and some heavy.

I fell in love right away with how much fun this music is. I also realized just how racy alot of the lyrics would have been for the time period. Some of it is cryptic and/or double entendre in style, but not too hard to figure out. I can only assume that they just didn't care, knowing that they wouldn't be getting airplay on mainstream radio. I think my favorite song has to be I Cried by Joseph "Google Eyes" August. To me, it embraced everything great about this music while not taking itself too seriously at all. See what y'all think...

This was ripped in secure mode of Media Monkey. 16/44.1 FLAC is the order of the day...enjoy!!!

The Best Of Little Walter

This is a blues classic by one of the most legendary harp players, Little Walter.  Unlike the suggestion that the title makes, this was his first album.

Generally when we see "Best Of", we are led to think that a few albums have come before.  In this case, the Checker label had signed him and decided to go with the title.  The album was infact a compilation of songs which Walter had recorded as singles.  Shortly after the album's release, Chess bought the contract and decided to keep the album intact, even using the same call number in their catalogue.

Walter has an extremely soulful style and is technically proficient to boot.  My favorite tracks are Juke and Mean Old World  There's no doubt that this is one of the greatest harmonica albums ever put on wax, if not one of the greatest blues/r&b sides.  If you haven't heard this, you better skip to it and thank poppachubby later!!  A stone cold classic... enjoy!!

Chess Masters CH-9192
1986

Originally released on Checker LP-1428, 1958
Re-issued on Chess LP-1428 1958

A
1. "My Babe" (Willie Dixon) 2:44
2. "Sad Hours"   3:15
3. "You're So Fine"   3:07
4. "Last Night"   2:46
5. "Blues with a Feeling"   3:10
6. "Can't Hold Out Much Longer"   3:03

B
1. "Juke"   2:47
2. "Mean Old World"   2:57
3. "Off the Wall"   2:52
4. "You Better Watch Yourself"   3:04
5. "Blue Lights"   3:14
6. "Tell Me Mamma"   2:47

Little Walter – lead vocals, harmonica
Muddy Waters – guitar on "Juke" and "Can't Hold Out Much Longer"
Jimmy Rogers – guitar on "Juke" and "Can't Hold Out Much Longer"
David Myers – guitar
Louis Myers – guitar
Leonard Caston – guitar on "My Babe"
Robert Lockwood, Jr. – guitar on "My Babe"
Willie Dixon – bass, producer
Elgin Evans – drums on "Juke" and "Can't Hold Out Much Longer"
Fred Below – drums

Recorded in Chicago

Theodis Ealey - It's a Real Good Thang

I have been having some second thoughts as to the rather random ADD way in which I have been presenting this stuff and I have plans for some more focused groups of posts but I may as well empty the hopper on the things that are already uploaded, then we will get a little more musicologically focused.

   In the modern Chitlin Circuit recording world there is a whole lot of talking back in forth in song regarding sexual techniques, Theodis jumps right in on that stuff but don't let it distract you from the fact that this is one soulful singer/guitar player we got here. Unlike so many modern blues guitarists, Ealey does not over-play and scatter notes like so much confetti, he plays with intent and feeling and I like it!

This time we get clued in from Theodis' own own website:

"Blues Guitarist, Vocalist, Songwriter, Producer and Entertainer...are just a few of the titles that describe the phenomenon of Theodis Ealey.  This Mississippi native first picked up an instrument when his older brother, "Y" "Z" Ealey first taught him how to play at the age of 4.  Ten years later, Theodis, on bass, was playing at his first gig with brothers, "Y" "Z" and Melwin Ealey, in a group called “Y” “Z” Ealey and the Merrymakers.  This brotherly trio made their debut in their hometown of Natchez, Mississippi at a local nightclub called the Horseshoe Circle.  One year later, Theodis traded his bass for a guitar and began performing with another Natchez group, Eugene Butler & the Rocking Royals.  It was here that Theodis sharpened his guitar playing skills, hitting the local circuit.

Music has always been a part of his life.  Growing up, Theodis says this life-long love affair with music began when he lived on Highway 61 on the other side of the road from Miss Willie Mae's Juke Joint.  "I would just sit on the steps and listen to the sounds coming from there", the heart and soul of the Blues.  Since leaving Mississippi, Theodis always carried the "Mississippi Juke Joint Spirit" with him through his music.

As one of 11 children in his family, Theodis wanted to travel the world and the U.S. Air Force provided the opportunity.  During his military tour of service, Theodis was stationed in Hawaii for 6 years and then moved to Oakland, California before making Atlanta, Georgia his permanent home.  Still holding strong to his Mississippi roots, Theodis played guitar with such notable artists as Little Milton, Johnny Clyde Copeland, Richard "Dimples" Fields, the Blues Brothers and the 'legendary' Charles Brown.  This musical journey enabled Theodis to generate a personal style based upon his love of diverse music -- blues, country, soul and rock.

Established as an accomplished guitarist, Theodis took a chance and the music industry soon discovered the voice behind the guitar.  Theodis "the artist" was born.  Ichiban Records, a respected blues label in Atlanta, recognized Theodis' multiple talents and immediately signed him to a deal in 1991.  Over the next 6 years, Theodis and Ichiban Records would enjoy 4 very successful albums.  It was Theodis Ealey's charm and magnetism that attracted audiences worldwide.  His electrifying stage performances also opened doors to Hollywood.  Theodis appeared in the NBC Movie of the Week, "A Kiss To Die For", the Emmy Winning HBO special, "Miss Evers' Boys", the major motion picture, "The Fighting Temptations" and commercials for Rooms To Go and The Cartoon Network, forever "The Bluesman Lover".  His latest accomplishment was his appearance in the Tyler Perry movie, “Daddy’s Little Girls” in 2007.

Theodis Ealey generated industry recognition for his innovative style and authentic Mississippi flavor as the recipient of the Male Vocalist Top Star Award in the San Francisco Bay Area in 1994 and Mo' Better Blues Male Artist of the Year Award in Atlanta, GA in 1997.  Theodis’ most recent awards include the Jus’ Blues Best Blues & Soul Man Song of the Year 2007 for “Francine” and the Jus’ Blues Lowell Folsom Legends Award for years 2006 and 2008.  Theodis Ealey also crossed music genres and performed as a featured vocalist with Hip Hop group Ghetto Mafia on their "On Da Grind" CD, further expanding his fan base.

The "Bluesman Lover" made lemonade out of lemons when Ichiban Records eventually closed its doors.  Seizing the moment, Theodis Ealey used this opportunity to create his new label home, IFGAM Records.  The name alone is symbolic of the Theodis Ealey spirit . . . I Feel Good About Myself (IFGAM).  At his new label home, Theodis released his fifth project entitled, "It's A Real Good Thang", continuing with the Theodis Ealey tradition of music diversity filled with pure soul.

The 2004 "Stand Up In It" project was a runaway success as the #1 Single on Billboard's Hot R&B/Hip Hop Singles Sales Chart for 5 consecutive weeks, debuting at #5 on Billboard's Blues Album Chart and #69 on Billboard's R&B/Hip Hop Charts.  Theodis thought this song and album was just for "grown folks" but the radio industry and listeners thought otherwise, earning him 2 "JACKIE" Awards in 2004 for Best Recording by a Single Artist and National Blues Artist of the Year--The Little Milton Campbell Award.  Rewardingly, the female population has claimed "Stand Up In It" as the Women's National Anthem.

While Theodis is still Standing Up In It, he decided to take some time to introduce "Francine" to the world.  And, boy, was she welcomed with open arms.  His next project, "I'm The Man You Need", released in 2006, was his first full-length solo CD in three years.  Based on input from fans and DJs, it was surely worth the wait.  For all the fans who need a Theodis live fix, get ready…….”Theodis Ealey – L I V E” is coming in February 2009!!!!!

Elmore James - Got To Move

                                                                                                                                                                       

A superb look at James during the 50's and into the early 60's.  Great way to get to know him for the inexperienced listener - and some great tracks for any fan.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...  Enjoy!!

Charly R&B CRB-1017

1981

________________________________________________

Elmore James; taken from Wikipedia:

James was born Elmore Brooks in the old Richland community in Holmes County, Mississippi (not to be confused with two other locations of the same name in Mississippi). He was the illegitimate son of 15-year-old Leola Brooks, a field hand. His father was probably Joe Willie "Frost" James, who moved in with Leola, and so Elmore took this as his name. His parents adopted an orphaned boy at some point named Robert Holston.

Elmore began making music at the age of 12 using a simple one-string instrument ("diddley bow" or "jitterbug") strung up on a shack wall. As a teen he was playing at local dances under the names Cleanhead and Joe Willie James. His first marriage, circa 1942, was to Minnie Mae (whom he apparently never divorced). He subsequently married twice, to Georgianna Crump in 1947 and to a woman called Janice circa 1954. (Another reported marriage of Elmore to a Josephine Harris has been found to be a mistaken record of a different Elmore James.)
Becoming a well-known musician in those days, with the rewards of prestige, good free food, illicit free liquor, women's favours, the promise of escape from the hard agricultural work, etc., must have been as attractive to Elmore as it was to the other musicians of that time and earlier, such as the 'second' Sonny Boy Williamson, with whom he played and Robert Johnson with whom he also possibly played.^[1] Although Robert Johnson died in 1938, James (like many other musicians) was strongly influenced by him, and by Kokomo Arnold and Tampa Red. Elmore recorded several of Tampa's songs, and even inherited from his band two of his famous "Broomdusters", "Little" Johnny Jones (piano) and Odie Payne (drums). There is a dispute as to whether Robert Johnson or Elmore wrote James' trademark song, "Dust My Broom".^[2]
James's demise may have been hastened by his lifelong taste for, and manufacture of, moonshine whiskey, to which he was introduced at an early age. Alcohol definitely killed his band-mates/friends Willie Love and Johnny Jones at an early age. His regular rhythm guitarist Homesick James maintained his longevity was due to his not partaking of the heavy drinking sessions after — and often during — gigs, a refusal that was unpopular with the rest of the band. James was also reportedly an extremely fast driver who also loved hunting with guns and dogs in Mississippi.

During World War II James joined the United States Navy, was promoted to coxswain and took part in the invasion of Guam against the Japanese. Upon his discharge, Elmore returned to central Mississippi and eventually settled in Canton with his adopted brother Robert Holston; it was at this time he learned that he had a serious heart condition. Working in Robert's electrical shop, he devised his unique electric sound, using parts from the shop and an unusual placement of two D'Armond pickups.^[2] He began recording with Trumpet Records in nearby Jackson in January 1951, first as sideman to the second Sonny Boy Williamson and also to their mutual friend Wille Love and possibly others, then debuting as a session leader in August with "Dust My Broom".^[1] It was a surprise R&B hit in 1952 and turned James into a star. He then broke his recording contract with Trumpet Records to sign up with the Bihari Brothers through Ike Turner (who played guitar and piano on a couple of his early Bihari recordings). His "I Believe" was another hit a year later.^[1] During the 1950s he recorded for the Bihari brothers' Flair Records, Meteor Records^[3] and Modern Records labels, as well as for Chess Records and Mel London's Chief Records (his "It Hurts Me Too" was later a hit when he re-recorded it for Enjoy Records).^[4] His backing musicians were known as the Broomdusters.^[1] In 1959 he began recording for Bobby Robinson's Fire Records label. These include "The Sky Is Crying" (credited to Elmo James and His Broomdusters), "My Bleeding Heart", "Stranger Blues", "Look on Yonder Wall", "Done Somebody Wrong", and "Shake Your Moneymaker", all of which are among the most famous of blues recordings.^[1]
James died of his third heart attack in Chicago in 1963,^[1] just prior to a tour of Europe with that year's American Folk Blues Festival. He was buried in the Newport Baptist Church Cemetery in Ebenezer, Mississippi.

Howlin Wolf - The Wolf

This isn't your typical "best of" album.  The tracks are not all what you would find on most of his collections.  No Smokestack Lightnin' or Killin Floor, but what you'll find here is a group of highly soulful tunes. 

There's no listing on the album for personnel or source material.  Sounds like his classic Chicago line up to me...great sound on this one, no cracklin disc copies.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Blue Moon BMLP-1009
1984





1. Ain't Superstitious
2. Goin Down Slow
3. Somebody Walkin In My House
4. Commit A Crime
5. My Mind Is Ramblin
6. I Walked From Dallas
7. My Country Sugar Mama
8. Louise
9. Hold Onto Your Money
10. Streamline Woman

Howlin' Wolf - Vocals, Guitar

Muddy And The Wolf

This is a great album.  Side one is tracks from a Muddy session, originally released as Fathers And Sons.  Side 2 features the Wolf, tracks taken from his album The London Howlin Wolf Sessions.

I actually had a mint copy of Fathers And Sons but sold it when I was offered too much to refuse.  As you can see from the cover, Howlin Wolf is jammin with some British rock types.

Overall a really fun album.  Ripped from my minty vinyl, but only at 320 mp3 (older rip)... Enjoy!!!


Chess CH-9100
1984




MUDDY WATERS:

Personnel: Muddy Waters (vocals, slide guitar); Michael Bloomfield (guitar); Paul Butterfield, Jeff Carp (harmonica); Otis Spann (piano); Donald "Duck" Dunn, Phil Upchurch (bass); Sam Lay (drums).

Engineer: Ron Malo, Reice Hamel.

Recorded at Ter-Mar Studios, Chicago, Illinois; Live at Super Cosmic Joy-Scout Jamboree, Chicago, Illinois, April 24, 1969. Originally released on Chess (127).

 1 All Aboard  2:50 
 2 Blow Wind Blow See All    3:36 
 3 Can't Lose What You Ain't Never Had  3:04  
 4 Walkin' Thru the Park  3:18   
 5 I'm Ready   3:35   
 6 Long Distance Call  6:22



HOWLIN' WOLF:

Personnel: Howlin' Wolf (vocals, acoustic guitar, harmonica); Eric Clapton, Hubert Sumlin (guitar); Jeffrey M. Carp (harmonica); Steve Winwood, Ian Stewart, Lafayette Leake, John Simon (piano, organ); Bill Wyman, Phil Upchurch (bass, shakers, cow bell); Charlie Watts (drums, conga, percussion).

Engineer: Glyn Johns

Recorded at Olympic Sound Studios, London, England. Originally released on Chess (6008).

 7 Rockin' Daddy   3:40   
 8 What A Woman!   3:01  
 9 Who's Been Talking?   3:05  
 10 Red Rooster    1:28  
 11 Red Rooster  2:47   
 12 Highway 49   3:51   
 13 Do the Do   2:17

John Lee Hooker Plays And Sings The Blues

This is probably my favorite blues album.  Hooker really paints the scene of a Delta bluesman just playing the day away on a front porch.  If you ask me, its albums like this that set the bar for exactly WHAT the blues is.  For decades following it would be hard for any contemporary's to break the mold...  that's the kind of influence an album like this has.

Unlike the suggestion of the title, this is NOT a best of or collection.  Rather, a great set of tunes cut by a master of the genre.

This was ripped from my '86 reissue and sounds glorious.  The Chess Master series was akin to say the Liberty reissues of the Blue Note classics.  Great fidelity and music - on a dime.  Enjoy!!!

Chess – CHD-9199
1986

1  The Journey  3:37  
2  I Don't Want Your Money  2:58  
3  Hey, Baby  3:22  
4  Mad Man Blues  2:39  
5  Bluebird  2:55  
6  Worried Life Blues  3:00  
7  Apologize  2:57  
8  Lonely Boy Boogie  3:16  
9  Please Don't Go   2:26  
10  Dreamin' Blues  3:02  
11  Hey Boogie  2:59  
12  Just Me And My Telephone   3:14  

Vocals, Guitar – John Lee Hooker
Written-By – John Lee Hooker (tracks: 1 to 8, 10 to 12)
All cuts recorded in Detroit, late 1952, except "Mad Man Blues", "Hey Boogie" (Detroit, late 1951), "Dreamin' Blues" (Detroit, 1951) and "Just Me And My Telephone" (Detroit, 1951 or 1952)

Wilson Pickett - It's Too Late

 Pickett was born March 18, 1941 in Prattville, Alabama, and grew up singing in Baptist church choirs.

He was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.

Pickett's forceful, passionate style of singing was developed in the church and on the streets of Detroit, under the influence of recording stars such as Little Richard, whom he later referred to as "the architect of rock and roll.

In 1955, Pickett became part of a gospel music group called the Violinaires. The group accompanied The Soul Stirrers, The Swan Silvertones, and The Davis Sisters on church tours across the country. After singing for four years in the locally popular gospel-harmony group, Pickett, lured by the success of other gospel singers of the day, who left gospel music in the late 1950s for the more lucrative secular music market, joined the Falcons in 1959.

The Falcons were one of the first vocal groups to bring gospel into a popular context, thus paving the way for soul music. The Falcons also featured some notable members who went on to become major solo artists; when Pickett joined the group, Eddie Floyd and Sir Mack Rice were also members of the group. Pickett's biggest success with The Falcons came in 1962, when "I Found a Love," (co-authored by Pickett and featuring his lead vocals), peaked at #6 on the R&B chart, and at #75 on the Hot 100.

Soon after recording "I Found a Love," Pickett cut his first solo recordings, including "I'm Gonna Cry," his first collaboration with Don Covay. Around this time, Pickett also recorded a demo for a song he co-wrote, called "If You Need Me." A slow-burning soul ballad featuring a spoken sermon, Pickett sent the demo to Jerry Wexler, a producer at Atlantic Records. Wexler heard the demo and gave it to one of the label's own recording artists, Solomon Burke. Burke's recording of "If You Need Me" became one of his biggest hits (#2 R&B, #37 Pop) and is now considered a soul standard, but Pickett was crushed when he discovered that Atlantic had given away his song. However, when Pickett—holding a demo tape under his arm—returned to Wexler's personal studio, Wexler asked him whether he was angry about this loss, but denied it saying "It's over". "First time I ever cried in my life". Pickett's version of the song was released on Double L Records, and was a moderate hit, peaking at #30 R&B, #64 pop.

Pickett's first big success as a solo artist came with "It's Too Late," an original composition (not to be confused with the Chuck Willis standard of the same name). Entering the charts on July 27, 1963, it eventually peaked at #7 on the R&B chart (#49 Pop). This record's success convinced Wexler and Atlantic to buy Pickett's recording contract from Double L Records in 1964.

Stax Does The Beatles

Poppachubby tells me he has things he wants to post, I'm saying "then you need to just jump in and do it son because KC is on fire baby and I can't be stopped!"

This is just a whole lot of fun and something of a tour de force for Booker T and the MG's as what really happens here is that Booker tackles The Beatles with all of Stax records at his command. Okay, I'm on board! Thanks Candy, I know that where you are now there is always a show with no sound checks and no microphones because you're standing in the middle of them baby.

"The influence of the Beatles is and has been pervasive, but in the latter half of the 1960s their music was everywhere, unavoidable even if one wanted to dodge it, and few wanted to do that anyway. Beatles songs were so well constructed, so full of brilliant melody lines and dynamic rhythms, and so adaptable that other artists constantly covered them, including the folks at Stax Records in Memphis, home of deep Southern soul. This 15-track set collects some of those Stax versions, and while nothing here really makes one forget the originals by the Beatles, it makes for a fun and at times revelatory listening experience. Among the highlights are a previously unreleased studio take of "Day Tripper" by the late, great Otis Redding, whose driving, drastic reconfiguration of the song turns it into a gritty, greasy soul sermon on the merits of love, a trick Isaac Hayes also pulls off with his epic, nearly 12-minute rendition of George Harrison's "Something." Also worth noting are Booker T. & the MG's pulsing instrumental version of "Lady Madonna" and the Bar-Kays' sweet, chiming, and nearly wordless take on "Hey Jude." It's all a lot of fun, and for those who doubt that the Beatles had soul, the proof that they did is here. Nobody made soul music better than the musicians at Stax Records, so they ought to know. Case closed." AMG

All right, He may be just a little under informed about the musicians at other labels in the R & B/Soul world but I appreciate the boy's enthusiasm.

Jimmy Rogers - Chicago Bound

Before I leave this particular visit to the Blues side of things I need to offer one more special guy and say that this one is for my friend Clifford who is a huge fan of Jimmy and Otis in particular although he loves all this stuff. Cliff is in large part responsible for the inspiration and information that have made this project possible and he has been and will continue to be a major source of recordings that appear here. (I have a few of my own too, mind you) Perhaps at some point where I've managed to impress or at least intrigue him I'll get him to do some authoring himself.

Unky Cliff is a life-long Musicologist (a term I apply to myself in a far more casual mode) with a breadth and depth of knowledge that has become my morning learning session over coffee. I have also been intrusted with digitizing that portion of his mind boggling collection that hasn't been re-issued on cd. If you look at the door that bears his name you will see that this is not always an easy task but over time you come to see that ALL music is connected on some level and when you understand the roots of Western music, the same music patterns and song themes are repeated again and again in every supposed Genre. What becomes clear over time is that the major differences are driven by the culture in which the music is played (kind of like religion). The musicians themselves certainly didn't seem to care much about what anyone called what they were playing.

On to business: Jimmy Rogers was born James A. Lane in Ruleville, Mississippi on June 3, 1924 and was raised in Atlanta and Memphis. He adapted the professional surname 'Rogers' from his stepfather's last name. Rogers learned the harmonica alongside his childhood friend Snooky Pryor, and as a teenager took up the guitar and played professionally in East St. Louis, Illinois, where he played with Robert Lockwood, Jr. among others, before moving to Chicago in the mid 1940s. By 1946 he had recorded as a harmonica player and singer for the Harlem record label run by J. Mayo Williams. Rogers' name did not appear on the record, which was mislabeled as the work of "Memphis Slim and his Houserockers."

In 1947, Rogers, Muddy Waters and Little Walter began playing together as Muddy Waters' first band in Chicago (sometimes referred to as "The Headcutters" or "The Headhunters" due to their practice of stealing jobs from other local bands), while the band members each recorded and released music credited to each of them as solo artists. The first Muddy Waters band defined the sound of the nascent "Chicago Blues" style (more specifically "South Side" Chicago Blues). Rogers made several more sides of his own with small labels in Chicago, but none were released at the time. He began to enjoy success as a solo artist with Chess Records in 1950, scoring a hit with "That's All Right", but he stayed with Muddy Waters until 1954. In the mid 1950s he had several successful releases on the Chess label, most featuring either Little Walter Jacobs or Big Walter Horton on harmonica, most notably "Walking By Myself", but as the 1950s drew to a close and interest in the blues waned, he gradually withdrew from the music industry.

In the early 1960s Rogers briefly worked as a member of Howling Wolf's band, before quitting the music business altogether for almost a decade. He worked as a taxicab driver and owned a clothing store that burned down in the Chicago riots that followed the assassination of Dr. Martin Luther King, Jr. in 1968. He gradually began performing in public again, and in 1971 when fashions made him a reasonable draw in Europe, Rogers began occasionally touring and recording, including a 1977 reunion session with his old bandleader Muddy Waters. By 1982, Rogers was again a full-time solo artist.

In 1995 Rogers was inducted into the Blues Hall of Fame.
He continued touring and recording albums until his death from colon cancer in Chicago in 1997. He was survived by his son, Jimmy D. Lane, who is also a guitarist and a record producer and recording engineer for Blue Heaven Studios and APO Records.

***NEW LINK - I'VE ADDED 11 MORE TRACKS***

As Good As It Gets - Jukebox Blues of the 1940's

It is difficult to know how to introduce this set other than to say that much of this music would have been on nearly every Chitlins Circuit bar jukebox in the 40's and well into the 50's although in the fifties the Soul and R & B tracks are mixed in in increasing numbers. In most of the South there is a tendency to mix the three somewhat indiscriminately, a movie hall concert might well include performers from all 3 genres and any given performer might well cover all three in a single night. 

Volume One

1 Down the Road a Piece - Amos Milburn
2 Low Down Dog - Pete Johnson, Joe Turner
3 Big Time Mama - Champion Jack Dupree
4 Stormy Monday - T-Bone Walker
5 Boogie Chillen' - John Lee Hooker
6 Shake the Boogie - Sonny Boy Williamson
7 Peetie Wheatstraw Stomp - Peetie Wheatstraw
8 All by Myself - Big Bill Broonzy
9 Don't You Lie to Me - Tampa Red
10 He's a Jelly Roll Baker - Lonnie Johnson
11 I Can't Be Satisfied - Muddy Waters
12 X-Temperaneous Boogie - Camille Howard
13 She Ain't Nowhere - Sunnyland Slim
14 Three O'Clock Blues - Lowell Fulson
15 Key to the Highway - Big Bill Broonzy, Jazz Gillum
16 Dripper's Boogie - Joe Liggins
17 Snatch and Grab It - Julia Lee
18 Blues After Hours - Pee Wee Crayton
19 Wynonie's Boogie - Wynonie Harris
20 County Jail Blues - Big Maceo Merriweather
21 Tiny's Boogie Woogie - Tiny Grimes Sextette
22 I'm in Sharp When I Hit the Coast - Joe Turner
23 Long Gone, Pt. 2 - Sonny Thompson
24 Long Gone, Pt. 2 - Sonny Thompson
25 Pacemaker - Memphis Slim
26 Wee Wee Hours Blues - Big Bill Broonzy
 

Volume Two

 1 Rockin' the House - The Houserockers, Memphis Slim, Memphis Slim & the Houserockers
2 I Know You're Puttin' Me Down - Louis Jordan
3 King Size Papa - Julia Lee
4 Johnson Machine Gun - Sunnyland Slim
5 Chicken Shack Boogie - Amos Milburn
6 Better Cut That Out - Sonny Boy Williamson
7 Tomorrow Night - Lonnie Johnson
8 Gillum's Windy Blues - Big Bill Broonzy, Jazz Gillum
9 Living Room Romp - Tiny Grimes
10 Hypin' Woman Blues - T-Bone Walker
11 Sally Mae - John Lee Hooker
12 My Fault - Brownie McGhee
13 You're Gonna Miss Me - Muddy Waters
14 Move Your Hand Baby - Crown Prince Waterford
15 Shack Bully Stomp - Peetie Wheatstraw
16 Driftin' Blues - Charles Brown, Johnny Moore's Three Blazers
17 Stop Truckin' and Suzi-Q - Tampa Red
18 Back Door - Big Bill Broonzy, Washboard Sam
19 Worried Life Blues - Big Maceo Merriweather, Tampa Red
20 Trouble in Mind - Georgia White
21 I Feel So Good - Big Bill Broonzy
22 I Want to See My Baby - Lowell Fulson
23 Goin' Down Slow
24 Big Fat Mama - Roy Milton
25 Good Rockin' Tonight - Roy Brown
26 Sally Zu-Zazz - Joe Turner

Clarence Gatemouth Brown - Pressure Cooker

This album is about as good as it gets.  Gate did a few original sides for Alligator, but this album is actually a reissue of sorts.

As many of you may or may not know, Brown spent alot of time in Europe during the 60's and 70's.  Like so many of his compatriates, he recorded for the great french label Black and Blue.  Infact, his output was quite high recording 5 albums, including the classic Louis Jordan tribute (available at the Crypt).  Alligator decided to select the best of all these albums and package it into one LP.  Good idea?  Hell yeah!!

Gatemouth is in top form here and his bandmates are no less.  Superb rhythm and shredding solos.  Intuitive note selection and chord choices.  All hallmarks of Brown's style.  Vocally he is soulful with great wit and charm.  The tracklist was well chosen.  We get the groovy feel of an organ trio, right on up to the brassy weight of an octet.  The band swing and groove hard through all of it.  Gatemouth is comfortable with a blues as much as he is with swingin.  He combines many different styles and feels which makes for incredible fun with non stop, interesting delivery.

If you're missing this one, don't hesitate to grab it.  Should also make a nice upgrade as this album is mint, and the fidelity superb.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...  Enjoy!!!

Alligator AL4745
1985

Recorded Mar/July/Aug 1973

Barclay Studio, Paris, France and

Condorcet Studio, Toulouse, France
Produced by and licenced from Disque Black and Blue

Clarence Gatemouth Brown - Vocals, Guitar
Milt Buckner, Stan Hunter - Organ
Micheal Silva, Paul Gunther, Chris Columbo - Drums

Jay McShann - Piano

Roland Lobligeois - Bass

Xavier Chambon - Trumpet

Michael Attenoux, Hal Singer, Arnett Cobb - Tenor Sax

Al Grey, Claude Gousset - Trombone

A1 She Winked Her Eye

A2 Slow Down

A3 Just Lippin

A4 My Time Is Expensive

A5 Ain't Nobody Here But Us Chickens

B1 Pressure Cooker

B2 Ain't That Just Like A Woman

B3 Deep, Deep water

B4 Cold Strings