Thursday, January 30, 2014

Donnie Elbert - Hear My Plea & Donnie Elbert Sings

Donnie Elbert (May 25, 1936 – January 26, 1989) was an American soul singer, who had a prolific career from the mid-1950s to the late 1970s. His US hits included "Where Did Our Love Go?" (1972), and his reputation as a Northern soul artist in the UK was secured by "A Little Piece of Leather", a performance highlighting his powerful falsetto voice.

Elbert was born in New Orleans, Louisiana, but when aged three his family relocated to Buffalo, New York. He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon. Elbert acted as the group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single "Walk Beside Me". He left the group in 1957 for a solo career, and recorded a demonstration record that earned him a recording contract with the King label's DeLuxe subsidiary. His solo debut "What Can I Do?" reached #12 in the U.S. R&B chart, and he followed it up with the less successful "Believe It or Not" and "Have I Sinned?", which became a regional hit in Pittsburgh.

He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured the chitlin' circuit of African-American owned nightclubs. After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first Red Top Records, where in 1960 he recorded "Someday (You'll Want Me to Want You)", and then Vee-Jay Records, where he had another regional hit with "Will You Ever Be Mine?," which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide. His career was also interrupted by a spell in the US Army, from which he was discharged in 1961. He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success. However, although the 1965 Gateway label release of "A Little Piece of Leather" failed to chart in the US, the record became a #27 pop hit when released on the London label in the UK several years later in 1972, and remains a Northern soul favorite.

Elbert relocated to the UK in 1966, where he married. There, he recorded "In Between The Heartaches" for the Polydor label in 1968, a cover version of The Supremes' hit "Where Did Our Love Go?". and an album of Otis Redding cover versions, Tribute To A King. His 1969 Deram release "Without You" had a rocksteady rhythm, and went to the top of the Jamaican charts. He returned to the US the same year, and had his first US chart hit in over a decade with the Rare Bullet label release "Can't Get Over Losing You," which reached #26 on the Billboard R&B chart. Following the success of that record, "Where Did Our Love Go?" was released on the All Platinum label, and became his biggest hit, reaching #15 on the US pop charts, #6 on the R&B charts, and (in 1972) #8 in the UK. Its follow-up "Sweet Baby" reached #30 on the R&B chart in early 1972.

Elbert then signed with Avco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi. Although his cover of The Four Tops' "I Can't Help Myself" reached #14 on the R&B chart, Elbert balked at the label's insistence that he record material associated with Motown. He returned to All Platinum and had a run of minor R&B hits, but left after he claimed authorship of Shirley & Company's R&B chart-topper "Shame Shame Shame" which was credited to label owner Sylvia Robinson. For 1975's "You Keep Me Crying (With Your Lying)," Elbert finally formed his own label, and "I Got to Get Myself Together," appeared on an imprint bearing his surname, but it was among his final recordings.

By the mid-1980s Elbert had retired from performing, and became director of A&R for Polygram's Canadian division. He suffered a massive stroke and died in 1989, at the age of 52.

Tuesday, January 28, 2014

Marva Wright - Marva

It is a ridiculously cold morning here in New Orleans and the forecast is for the temperature to continue to drop all day - businesses, schools, offices, everyone is closed and I acknowledge that I've been deterred from attending morning coffee, I have a mental picture of Cliff sitting there by himself that is causing me some guilt, but I am a weather wimp when it comes to cold and wet. I think I'll just stay here where it is warm and dry and listen to Marva.

Posting 'After The Levee's Broke' got me looking through the AIM cover where I noticed that there were 3 more Marva albums on AIM that do not overlap all the Marva that I've already posted! I'm ecstatic! Somehow I was unaware that her relationship with Glenn Gaines and AIM went all the way back to 1995. This was the first to arrive, but chronologically it is the 3rd of the AIM discs, it is from 2000 and it is a killer! Like the Levee's album there are great guests and good production too. I can't wait to hear the next 2!

Monday, January 27, 2014

Shuggie Otis In Session

"Shuggie Otis (born Johnny Alexander Veliotes, Jr.; November 30, 1953) Born in Los Angeles, California, Otis is the son of rhythm and blues pioneer, musician, bandleader, and impresario Johnny Otis and wife Phyllis. The name "Shuggie" (short for "sugar", according to his mother) was coined by Phyllis when he was a newborn. Otis began playing guitar when he was two years old and performing professionally with his father's band at the age of twelve, often disguising himself with dark glasses and a false mustache so that he could play with his father's band in after-hours nightclubs.

Otis, primarily known as a guitarist, also sings and plays a multitude of other instruments. While growing up with and being heavily influenced by many blues, jazz and R&B musicians in his father Johnny's immediate circle, Otis began to gravitate towards the popular music of his generation such as Sly Stone, Jimi Hendrix, and Arthur Lee of the band Love. In 1969, Al Kooper asked Otis to be the featured guest on the second installment (Kooper Session) of the Super Session album series that had previously included Stephen Stills and Mike Bloomfield. Kooper and the then-fifteen-year-old Otis recorded the whole album over one weekend in New York. Immediately returning to Los Angeles, Otis, along with his father and singer Delmar "Mighty Mouth" Evans, performed on the album Cold Shot, released in 1969 on the Los Angeles-based Kent label. Another obscure album this three-man team recorded was the extremely rare and risque Snatch & The Poontangs, on which Otis recorded tracks under the pseudonym "Prince Wunnerful".

Otis then released his first solo album later that year entitled Here Comes Shuggie Otis on Epic Records. Countless musicians were his guests on that debut attempt, including Johnny, Leon Haywood, Al McKibbon, Wilton Felder. This further established his reputation and catapulted him to the attention of B. B. King, who was quoted in a 1970 issue of Guitar Player magazine saying Otis was "his favorite new guitarist". Some of the artists Otis performed and recorded with during that time include Frank Zappa (having played electric bass on "Peaches en Regalia" on the 1969 album Hot Rats), Etta James, Eddie Vinson, Richard Berry, Louis Jordan, and Bobby 'Blue' Bland, among many others.

The album Otis received the most notoriety for was his second Epic Records release in 1971, Freedom Flight, which featured his hit "Strawberry Letter 23". Both the album and single reached the Billboard Top 200 and the Billboard Hot 100, respectively and caught the attention of Brothers Johnson guitarist George Johnson, who then played it for producer Quincy Jones. They covered the song and it instantly became a smash hit. Even though Otis played most of his own parts in the studio, the lineup on this album was quite extensive, including keyboardist George Duke and Aynsley Dunbar of Frank Zappa, Journey, and Whitesnake fame.

In 1974, Otis released Inspiration Information, his third and final album for Epic Records. The album had taken almost three years to finish. All the songs were written and arranged by Otis himself, who played almost exclusively every musical instrument on the album (except for horns and various stringed instruments). However, despite its long-awaited impact, Inspiration Information had but one single (the title track) reach the Billboard Hot 100. After the album's release, Otis was approached by Billy Preston on behalf of The Rolling Stones, asking him to join the band for their upcoming world tour. He declined the offer, along with the chance to work with Quincy Jones in helping produce Otis's next album. After a series of similar refusals, Otis gained the reputation of "taking his time", and his recording contract with Epic Records was nullified. Otis's only credited works throughout the mid-1970s were done as a session musician for his father's recording projects.

Inspiration Information gained a huge cult following during the 1990s with the emergence of rare groove and acid jazz. It was lauded by such musicians as Prince and Lenny Kravitz. Due in part to this regained interest, the album was re-released on April 3, 2001, by David Byrne's independent label Luaka Bop Records. This CD re-issue includes all nine original album tracks plus four songs taken from Otis' 1971 album Freedom Flight, and features new cover art, liner notes, and exclusive never-seen-before photos.

Otis is featured in every one of his father Johnny's books, as well as Alligator Records Presents West Coast Blues, issued in August 1998.

Otis and Sony Music Entertainment made a deal for a double CD which was released on April 20, 2013. It is a re-release of Inspiration/Information. Added to the album is several bonus tracks, including an accompanying album entitled Wings of Love. Wings of Love is an album of previously unreleased material, all of which was written from 1975 to the present, including live material from some of his rare performances. It will be available on Shugiterius records (Shuggie's new company) and Sony records, through Sony Music Entertainment.

Otis and a band entitled Shuggie Otis Rite toured internationally in 2013 in support of the release, including Australia, Japan, the U.S., Ireland and the U.K. Their performances earned rave reviews from critics."

Sunday, January 26, 2014

Willie Clayton - God Has A Plan

How about a second service this afternoon? I've posted some earlier soul recordings from Willie and I just couldn't resist checking this out. I'm glad I did!

 Personnel: Willie Clayton (vocals); Walter Witherspoon, Dwight Gordon (guitar, keyboards, drums, background vocals); Arche Spinks, Dorthy Spinks, Bobby Racy, Antioch Full Gospel Baptist Church Choir, Racy Brothers, Victor Allen, Bishop Kenneth Robinson (background vocals). 

Man, there is some SERIOUS sangin' goin' on here! Some funky stuff too!

Memphis Marvels - part D

Sorry to be so late with church today, I was having someinternet access issues. As you can see, this is the final volume of this fine set. This may be the strongest volume of the lot. Certainly leading with O.V. doesn't hurt to set the tone.

Friday, January 24, 2014

Etta Jones - The complete 1944-1960 [2cd]


I bought this album particularly for disk 2. Etta Jones' early studio recordings in their entirety include two original albums as well as 27 rare titles including 25 which were first released as 78/45 rpm records. Both CDs have been remastered with the greatest care. The beautiful  36 page booklet (which costed me a lot of time to scan) includes rare contemporary documents, a text in French and English and a detailed discography. Have fun with this beautie!

Label: Indie Europe/Zoom
release: August 30, 2011
my cd > flac, 673 mb
full scanned 36-page booklet


CD 1 
1. Yes Sir That's My Baby
2. Don't Go To Strangers
3. I Love Paris
4. Fine And Mellow
5. Where Or When
6. If I Had You
7. On The Street Where You Live
8. Something To Remember You By
9. Bye Bye Blackbird
10. All The Way
11. Sweethearts On Parade
12. You Call It Madness But I Call It
13. Mountain Greenery
14. Don't Worry 'bout Me
15. S'posin'
16. I Thought About You
17. I'm Gonna Lock My Heart And Throw Away The Key
18. Since I Fell For You
19. When I Fall In Love
20. White Cliffs Of Dover
21. People Will Say We're In Love

CD 2
1. Salty Papa Blues
2. Evil Gal Blues
3. Blow Top Blues
4. Long, Long, Journey
5. You Ain't Nothin' Daddy
6. So Tired
7. Solitude
8. I May Be Wonderful
9. Man Wanted
10. Blues To End All Blues
11. Among My Souvenirs
12. Mean To Me
13. Osculate Me, Daddy
14. My Sleepy Head
15. I Sold My Heart To The Junkman
16. The Richest Guy In The Graveyard
17. Ain't No Hurry Baby
18. What Ev'ry Woman Knows
19. Overwork Blues
20. Misery Is A Thing Called Moe
21. This Is A Fine Time
22. One Night In Trinidad
23. Stop
24. One O'clock Jump
25. Kisses All Night Long
26. I Got A Feelin'
27. Moolah! Moolah!

disk 1 recorded at Van Gelder Studios!

links inside

Jeff Todd Titon & Cliff - Post-War Downhome Blues - Part 4

The final volume in this list contains 38 tracks because, despite being an accountant, I apparently suck at division and miscalculated the number of tracks that I should have used in each section -- a senior moment I suppose.



Thursday, January 23, 2014

Otis Spann - Walking The Blues & The Blues Never Die!

 Otis Spann (March 21, 1930 – April 24, 1970) was an American blues musician whom many consider to be the leading postwar Chicago blues pianist. Born in Jackson, Mississippi, United States, Spann became known for his distinct piano style.

Spann's father was reportedly a pianist called Friday Ford. His mother Josephine Erby was a guitarist who had worked with Memphis Minnie and Bessie Smith, and his stepfather Frank Houston Spann was a preacher and musician. One of five children, Spann began playing piano at the age of seven, with some instruction from Friday Ford, Frank Spann, and Little Brother Montgomery. At the age of 14, he was playing in bands around Jackson, finding more inspiration in the 78s of Big Maceo Merriweather. It was Merriweather who took the young pianist under his wing once Spann migrated to Chicago in 1946. Spann gigged on his own, and with guitarist Morris Pejoe, working a regular spot at the Tic Toc Lounge.

Spann replaced Merriweather as Muddy Waters' piano player in late 1952, and participated in his first recording session with the band on September 24, 1953. From 1952 to 1968 Spann was a full-time member of the Muddy Waters band, while periodically recording as a solo artist. In that period he also did session work with other Chess artists like Howlin' Wolf and Bo Diddley.

Spann's own Chess Records output was limited to a 1954 single, "It Must Have Been the Devil" / "Five Spot", which featured B.B. King and Jody Williams on guitars, and two sides recorded in 1956 with a band featuring Big Walter Horton and Robert Lockwood that were unreleased at the time. He recorded a session with the guitarist Robert Lockwood, Jr. and vocalist St. Louis Jimmy in New York on August 23, 1960, which was issued on Otis Spann Is The Blues and Walking The Blues. A largely solo outing for Storyville Records in 1963 was recorded in Copenhagen. A set for UK Decca Records the following year found him in the company of Muddy Waters and Eric Clapton, and a 1964 album for Prestige followed where Spann shared vocal duties with band-mate James Cotton.

The Blues is Where It's At, Spann's 1966 album for ABC-Bluesway, sounded like a live recording. It was a recording studio date, enlivened by enthusiastic onlookers that applauded every song (Muddy Waters, guitarist Sammy Lawhorn, and George "Harmonica" Smith were among the support crew). A Bluesway encore, The Bottom of the Blues followed in 1967 and featured Spann's wife, Lucille Jenkins Spann (June 23, 1938 – August 2, 1994), helping out on vocals.

In the late 1960s, he appeared on albums with Buddy Guy, Big Mama Thornton, Peter Green and Fleetwood Mac.

Following his death from liver cancer in Chicago in 1970, at the age of 40, he was interred in the Burr Oak Cemetery, Alsip, Illinois. Spann's grave laid unmarked for almost thirty years, until Steve Salter (president of the Killer Blues Headstone Project) wrote a letter to Blues Revue magazine to say "This piano great is lying in an unmarked grave. Let's do something about this deplorable situation". Blues enthusiasts from around the world sent donations to purchase Spann a headstone. On June 6, 1999 the marker was unveiled during a private ceremony. The stone reads "Otis played the deepest blues we ever heard - He'll play forever in our hearts".

He was posthumously elected to the Blues Hall of Fame in 1980.

Wednesday, January 22, 2014

Blues With The Girls 1982

As best I can tell, the history here is that these three fine vocalists went to Europe on a tour where they would use a local group at each stop. Someone very smart realized that the inclusion of Hubert Sumlin as musical director would help smooth out the musical bumps, not to mention adding one of the greatest blues guitarists on the planet. We have no evidence whether or not this worked at all their stops on the tour, but it sure as hell worked in Paris! In particular, pianist Michael Carras plays his ass off!

"Sarah Streeter was raised in Chicago, Illinois, from early childhood, where she sang in gospel choirs in South Chicago churches. At age 14, she began singing blues at the Morgan's Lounge Club, and in the 1970s she played with musicians such as Magic Slim, Buddy Guy, The Aces, Junior Wells, Johnny Bernard, and Erwin Helfer.

Her experience playing with Sunnyland Slim led to her first solo release, a single released on his label, Airways Records. Teamed with Zora Young and Bonnie Lee in 'Blues with the Girls', Sarah toured Europe in 1982 and recorded an album in Paris, France. From 1989 she performed with a group called The Big Time Express. Since 1993 she has recorded for Delmark Records."

"Zora Young (born January 21, 1948, West Point, Mississippi, United States) is an American blues singer. She is a distant relative of Howlin' Wolf.

Young's family moved to Chicago at age seven and sang gospel at the Greater Harvest Baptist Church. As an adult she began singing blues and R&B music, and over the course of her career played with Junior Wells, Jimmy Dawkins, Bobby Rush, Buddy Guy, Albert King, Professor Eddie Lusk, and B. B. King. Among those she has collaborated with on record are Willie Dixon, Sunnyland Slim, Mississippi Heat, Paul DeLay, and Maurice John Vaughan.

In 1982, she toured Europe on the bill with Bonnie Lee and Big Time Sarah in 'Blues with the Girls', and then recorded an album in Paris, France. She was later cast in the role of Bessie Smith in the stage show, The Heart of the Blues. By 1991 she had recorded the album, Travelin' Light, with the Canadian guitar player, Colin Linden.

Young has toured Europe more than thirty times, in addition to appearances in Turkey and Taiwan. She was the featured performer at the Chicago Blues Festival six times."

"Bonnie Lee - She was born Jessie Lee Frealls in Bunkie, Louisiana, United States, and raised in Beaumont, Texas.

After learning to play the piano as a child, her mother refused to let her join gospel singer Lillian Glinn on tour. Instead she did later tour with the Famous Georgia Minstrels, meeting both Clarence "Gatemouth" Brown and Big Mama Thornton.

In 1958 she moved to Chicago, and chose the stage name of Bonnie Lee, working as both a dancer and singer. Two years later she signed a recording contract with J. Mayo Williams' Ebony Records label. The downside was Williams' insistence on her being billed as Bonnie "Bombshell" Lane on her first single, "Sad and Evil Woman." It was a name she disliked but, after the single failed to sell, she returned to the Chicago jazz and blues nightclubs. She was later billed as Bonnie Lee Murray, using her then husband's surname.

In 1967 Lee first appeared on the bill with the pianist Sunnyland Slim, and their working arrangement included residencies at a number of Chicago clubs. This led her, at the end of the 1970s, to release further singles via the Slim owned record label, Airway Records. After suffering health problems at the end of that decade, Lee then enjoyed a long professional partnership with Willie Kent. For many years the combination of Lee backed by Willie Kent and the Gents, became a regular feature in B.L.U.E.S., a noted Chicago club. There she sang her most famous numbers; "I’m Good" and "Need Your Love So Bad."

In 1982, and partnered with Zora Young and Big Time Sarah as 'Blues with the Girls', Lee toured Europe and cut a joint album in Paris, France. In 1992 Lee guested on Magic Slim's album, 44 Blues, with John Primer. Finally in her own name, in 1995 Delmark Records released, Sweetheart of the Blues, and three years later another collection, I'm Good, was issued.

In September 2006, after years of poor health, Lee died at the age of 75."

Tuesday, January 21, 2014

Sharon Jones & The Dap-Kings - I Learned The Hard Way

Sharon Jones and the Dap-Kings are the rarest type of retro/revivalist band-- the type that transcends its devotion to a style of music associated with a distant past. They make soul music in the classic sense, the kind of tracks that might have been laid down in Memphis, Muscle Shoals, Detroit, Philadelphia, or Chicago in the late 1960s and early 70s. But there's more to their sound than a nostalgia trip-- it's an affirmation of the validity of working in specific styles, even ones most people stopped exploring decades ago.
The Dap-Kings succeed through attention to detail. While a lot of music makes aesthetic or stylistic nods to 60s, almost none of it actually captures the sonic character of the era. But on each of their albums, Jones and her collaborators, led by Gabriel Roth, have done just that. And it doesn't just come down to the production and placement of the microphones. Jones deserves the most credit, simply for having an amazing voice that she understands how to wield effectively. Her impeccable sense of delivery balances power with nuance, varying her forcefulness for maximum impact. The songs give her plenty of room to move, too-- if these tracks weren't every bit as good as the ones that inspired them, all of the performance and production acumen in the world couldn't save them. As rote as it sounds, "Better Things" and "The Game Gets Old", among others on I Learned the Hard Way, would likely be classics today if they'd been released alongside the music that influenced them. In fact, they may yet become classics to a smaller, more niche audience today.
"Better Things" in particular is incredible, a brilliant kiss-off in which Jones reveals layers of anguish beneath her anger, while the band supports her with a heavy Muscle Shoals-style groove. It's striking to listen back to the very basic pastiche of the band's first album and see how far they've come, exploring different corners of funk and soul, experimenting with different meters and very complex arrangements. The trumpet in the intro to "Better Things" plays around with the vocal melody with a jazzy slyness that hits even harder when Jones follows it up by taking it over. Elsewhere, the horns and stormy backing track on "Money" save it from being a pretty typical soul rumination on being down and out, while Jones grabs the surfish guitar and bounding beat of "She Ain't a Child No More" and runs with them, delivering a commanding vocal to which her bandmates dutifully respond.
It all comes together to make an album that stands up as a varied and well-sequenced work, and as a collection of songs you can scatter through a shuffle and dig just as deeply. It's nice to hear the band really stretch themselves and develop the drama and tumult of songs like "I'll Still Be True" and "The Game Gets Old", which you can really hear the band putting its creative all the way into. This record hardly needs to be recommended to soul fans, but even if revisitations of older music styles aren't usually your thing, I Learned the Hard Way is worth digging up.

Year:

Release Date 2010
Label:

Daptone Records
Quality: Bitrate:

flac
Scans - Artwork:

all
Total Time:

39:31
Total Size:

237mb

Album Info & Personnel:
Sharon Jones - vocals
The Dap-Kings:
Thomas Brenneck - guitars, piano
Binky Griptite - guitars, bass
Dave Guy - trumpet
Ian Hendrickson-Smith - baritone saxophone, flute
Bosco Mann - bass
Homer Steinweiss - drums
Neal Sugarman - tenor saxophone
Fernando "Boogaloo" Velez - bongos, congas, tambourine

Tracklist:
  1. The Game Gets Old
  2. I Learned The Hard Way
  3. Better Things
  4. Give It Back
  5. Money
  6. The Reason
  7. I'll Still Be True
  8. Window Shopping
  9. Without A Heart
  10. If You Call
  11. Mama Don't Like My Man


Links in Comments:

Etta James - Losers Weepers


One of the best ideas that anyone at Ace has come up with in 2011 occurred when my colleague Mick Patrick proposed a series of expanded versions of several of Etta James’ Argo, Cadet and Chess albums that has hitherto eluded digitisation. It’s quite astounding how many of the albums that Etta released during her 15 years as the Chess group’s flagship female singer have not been issued on CD, especially given that the format’s now been with us for almost 30 years. But thanks to Mick and Kent, the number is gradually decreasing, with two “expanded editions” so far this year and the promise of more in 2012.
Etta’s 1970 album “Losers Weepers” is the latest to receive the treatment – and the wait has been well worth it. Recordings from this period of Etta’s five decade-long recording career have been somewhat neglected by the reissue market – but no more. This expansion of “Losers Weepers” really brings a full-on focus to some great music that more or less fell by the wayside when originally released, partly because of Etta’s personal circumstances at the time but mostly because she was regarded by many as having had her day as an R&B chart force.
Etta was in pretty bad shape when she made these recordings, but her rampant narcotic dependence did not stop her making the terrific music that you hear here. ‘Heavy Soul’ was a phrase that you heard frequently in the late 60s/early 70s and the intensity in the two-part title track completely defines the term. Etta’s sublime versions of ‘I Got It Bad (And That Ain’t Good)’, ‘The Man I Love’ and ‘For All We Know’ are the logical continuation of her immortal collaborations with arranger Riley Hampton, at the other end of the 60s, which produced the timeless “At Last” album.
Elsewhere Etta makes a relatively obscure Bee Gees song ‘Sound Of Love’ sound like it was written by three bruthas from Birmingham, Alabama rather than three brothers from Manchester, England. Her vocal on her revival of the Falcons’ R&B classic ‘I Found A Love’ is almost as riveting as that of the song’s original singer, Wilson Pickett. A revival of one of Etta’s old Modern recordings ‘W.O.M.A.N’ almost matches the original take for sass and sexiness. Etta’s take on the Association’s pretty 1966 near-chart topper ‘Never My love’ will leave you wishing Ms James had spent lots of time working in Philly with Bobby Martin, rather than cutting just the one session…
…And these are just bonus tracks folks!
No matter how well you might think you know Etta James, this set of songs will increase and enrich your knowledge of the lady’s work no end. It’s a tragedy that Etta is not likely to ever again be able to grace a recording studio, but fortunately her catalogue is full of delights like “Losers Weepers” that will keep her name alive for many years to come.

By Tony Rounce (Ace Records)

Year:
released November 15, 2011
Label:

Kent
Quality: Bitrate:

my cd > flac
Scans - Artwork:

full scanned booklet
Total Size:
438mb

Tracklist:
1. Take Out Some Insurance
2. I Got It Bad And That Ain't Good
3. I Think It's You
4. Someone
5. Losers Weepers
6. Weepers
7. You're The Fool
8. Hold Back My Tears
9. For All We Know
10. Look At The Rain
11. Ease Away A Little Bit At A Time
12. The Love Of My Man
13. Tighten Up Your Own Thing
14. Quick Reaction And Satisfaction
15. Nothing From Nothing Leaves Nothing
16. Sound Of Love
17. The Man I Love
18. I Found A Love
19. W.O.M.A.N.
20. Tell It Like It Is
21. Never My Love
22. I Never Meant To Love Him

Links in Comments:

Mary Wells - My Guy 'n' Me

Mary Wells was Motown's first great star - the Miracles had a hit with Smokey Robinson's "Shop Around" in 1960, but it was Wells' string of hits in 1962 that really made their reputation: "The One Who Really Loves You," "You Beat Me To The Punch," and "Two Lovers," all of which hit the Top 10 on the pop charts. The next several singles were less impressive, but in 1964 she topped the charts with Robinson's "My Guy," and then placed both sides of a duet single with Marvin Gaye ("Once Upon A Time"/"What's The Matter With You Baby") in the Top 40. Later the same year, Wells unexpectedly quit Motown for 20th Century Fox, having been promised a movie career that never materialized. She put out a string of flop singles over the next few years - only 1965's "Use Your Head" broke into the Top 40 - and then faded into obscurity. After a few unsuccessful comeback attempts and tours on the oldies circuit, Wells died of cancer in 1992.
Wells got her big break by auditioning her own "Bye Bye Baby" to Motown founder Berry Gordy; Gordy promptly signed her and released the song as a single, which did fairly well with R & B audiences. But after that point she was firmly in the hands of Gordy and his team of writers and producers, falling into a dependent pattern that was followed by all major Motown singers until the end of the decade. Between that and quitting the company so early, it's not really clear how far her career might have eventually gotten: successors like Diana Ross went on to much greater things. (According to one source, Gordy strongarmed disk jockeys into not playing her records, bribing them with exclusive airing rights to Supremes singles.)

Release Date October 4, 1999
Duration 30:07
label: Jobete
my cd > flac
full scans

Track Listing
1. What Love Has Joined Together
2. Laughing Boy
3. What's Easy for Two Is So Hard for One
4. My Guy
5. Operator
6. Two Lovers
7. The One Who Really Loves You
8. You Beat Me to the Punch
9. Your Old Standby
10. You Lost the Sweetest Boy
11. Old Love (Let's Try Again)

links in coments

Sunday, January 19, 2014

Rev. Maceo Woods & The Christian Tabernacle Concert Choir - Step To Jesus

Some funky gospel - not to be missed.  Nothing novelty or corny here, ultra soulful, real deal gospel.  This comes from my CD so the tracks are wicked minty and FLAC.  I will follow this up with the other album next Sunday.

Does anybody have any Maceo Woods on Vee Jay???

Memphis Marvels, Vol C

Part 3 of this lovely set from JSP and Opal Louis Nations (is he ever going to run out of material?)

Imagine it is the 50's and you are listening to Sunday morning Gospel on WDIA, Memphis....

Saturday, January 18, 2014

Wild Magnolias - Thirty Years A Still Wild!

 Believe it or not Mardi Gras season has begun!

"The Australian AIM record label has been a major proponent of Louisiana-centric zydeco and mardi gras music. This release represents a 30-year history of rare recordings from seminal New Orleans favorites Bo Dollis & the Wild Magnolias. No doubt, this is dance music steeped in New Orleans' Mardi Gras heritage, hearkening back to the slave trade as the tradition of "masking" (costume garb) carries forth some 100 years later. Commencing around 1970, Dollis and his associates were among the first to extend these roots and to include street music, or "second line" dance progressions, into a commercial forum. Moreover, this retrospective contains six new tracks, as the spirit of Mardi Gras is transposed to your listening space in altogether joyous and exuberant fashion. A noted live act, the Wild Magnolias meld catchy hooks, funky horns, and guitar parts with rumbling rhythms and festive chants. Here, second-line dance grooves attain a happy co-existence with a contemporary or modern-day Mardi Gras-induced outlook. Dollis possesses a muscular voice and knows how to work the crowd. In addition, famed New Orleans natives Zigaboo Modeliste (drums), Donald Harrison (sax), and the late, great Professor Longhair (piano) represent just a few of the many notables performing throughout. Think of it as a series of magnificent events stitched together via a 30-year time lapse. A wonderful affair indeed." 

I used to have a copy of this that Bo had given me, but it was stolen a couple years ago, I'm about to order a new one.

Otis Rush - Cold Day In Hell 1975

A fitting companion to Right Place...recorded with one of Otis' best bands.

"COLD DAY IN HELL is one of the standouts from Otis Rush's 1970s catalogue. Rush's anguished vocals, piercing guitar leads, and overall gutsy attack are in full effect here on galloping rockers ("Cut You a Loose") and loping groovers ("Mean Old World") alike. Rush specializes in slow-burn down-tempo numbers--"You're Breaking My Heart," "Society Woman," and the wiry title track fall into this category, and each of these tracks give the Chicago axe-master plenty of room to stretch out on the fretboard. Unlike a lot of the post-'60s bluesmen, Rush never softened or commercialized his sound, and COLD DAY IN HELL upholds the artist's rough and raw ethos. His searing guitar work (which seems inseparable from his chunky amplifier tone) cuts a trail through the middle of these songs and is as appropriate on wrenching slow blues as it is on "Motoring Along," a sprightly, jazz-influenced instrumental. An alternate take of "You're Breaking My Heart" and the previously unissued "Part Time Love" are icing on this satisfying release. w. Abb Locke, Big Moose, Mighty Joe Young 1975. Personnel: Otis Rush (vocals, guitar); Bob Stroger (guitar, drums); Mighty Joe Young, Bob Levis (guitar); Chuck Smith (saxophone, baritone saxophone); Abb Locke, Abe Locke (tenor saxophone); Johnny "Big Moose" Walker (piano, organ, keyboards); Jesse Lewis Green (drums)."

Friday, January 17, 2014

Jeff Todd Titon & Cliff - Post War Downhome Blues 3


John Lee Hooker - Never get out of these blues alive (1972)


Following the legendary bluesman's popular collaboration with Canned Heat, this album continues his work with mostly younger musicians and predates similar projects The Healer and Mr. Lucky by about 20 years. Van Morrison spans the gap by appearing on this 1972 release and Mr. Lucky. Elvin Bishop, Charlie Musselwhite, and even Steve Miller contribute here. Jazz violinist Michael White helps "Boogie With the Hook" take off and adds a mournful touch to the harrowing "T.B. Sheets," which is much more restrained here than on the earlier debut release by Morrison.

Label: MCA
released 1972
My cd> flac
223mb

tracks:
1.Bumblebee, Bumblebee 04:13
2.Hit The Road 02:57
3.Country Boy 06:59
4.Boogie With The Hook 06:32
5.T.B. Sheets 04:58
6.Letter To My Baby 03:57
7.Never Get Out Of These Blues Alive 10:16

Personnel: (click to enlarge)


links in comments!

Wednesday, January 15, 2014

Jeff Todd Titon & Cliff - Post War Downhome Blues, part 1

Time to introduce a new multipart series of mixcloud and blog posts that are once again based on a book playlist. This sort of exercise has been a passion of Cliff's for...well, a LONG time. Not many have the passion and perseverance to assemble sets like these. I know that often decades are involved! My role is to do my best to even out some of the lumps and bumps of the disparate sources. 

"I suppose that it is obvious, I read a lot about music and am too darned lazy to create my own playlists. Jeff Todd Titon's “Downhome Blues Lyrics” isn't a book I would suggest as a 'must read' but it sure makes for one hell of an interesting listening experience.

I first met Jeff many years ago when we were involved in selecting recommended recordings for the Folk Life division of the Library Of Congress. His book Powerhouse For God and the accompanying recordings was a big part of my early introduction to white gospel and sermons. Just about everything he has written over the years is worthy of your attention.

“Downhome Blues Lyrics” is well limned in the title, a collection of post-war blues lyrics. What makes it fascinating to me is how Titon uses the assembled songs to tell a story. The great migration north, the struggle to make a new life ending, for many, in reflection on the rural past.

Not only does his selection make for an excellent listening experience but he has done a fine job of picking material from performers, known and obscure, which illustrate the transition from rural to urban blues." Unkie Cliff


Since the focus of the list was to tell a story through the lyrics, the songs aren't presented  chronologically which seems to add texture to the listening experience. Jeff Todd Titon' s list is 128 tracks which I will carve into 4 listening chunks (I think it would be 5 cd's).


Otis Rush - Right Place, Wrong Time 1976


I really love this guy, and this album in particular. It was a mystery to me that it was ignored first time out. Let's try it again...

"This recording session was not released until five years after it was done. One can imagine the tapes practically smoldering in their cases, the music is so hot. Sorry, there is nothing "wrong" about this blues album at all. Otis Rush was a great blues expander, a man whose guitar playing was in every molecule pure blues. On his solos on this album he strips the idea of the blues down to very simple gestures (i.e., a bent string, but bent in such a subtle way that the seasoned blues listener will be surprised). As a performer he opens up the blues form with his chord progressions and use of horn sections, the latter instrumentation again added in a wonderfully spare manner, bringing to mind a master painter working certain parts of a canvas in order to bring in more light. Blues fans who get tired of the same old song structures, riff, and rhythms should be delighted with most of Rush's output, and this one is among his best. Sometimes all he does to make a song sound unlike any blues one has ever heard is just a small thing -- a chord moving up when one expects it go down, for example. The production is particularly skilled, and the fact that Capitol Records turned this session down after originally producing it can only be reasonably accepted when combined with other decisions this label has made, such as turning down the Doors because singer Jim Morrison had "no charisma." This record doesn't mess around at all. The first track takes off like the man they fire out of a cannon at the end of a circus, a perceived climax swaggeringly representing just the beginning, after all. Some of the finest tracks are the ones that go longer than five minutes, allowing the players room to stretch. And that means more of Rush's great guitar playing, of course. For the final track he leaves the blues behind completely for a moving cover version of "Rainy Night in Georgia" by Tony Joe White." AMG

Monday, January 13, 2014

Hard To Handle - Black America Sings Otis Redding

 Now THIS is a pretty fine compilation!

"Otis Redding was simply one of the finest and most powerful soul singers of all time, and his death in 1967 at the age of 27 not only silenced a gifted artist, it halted a career that seemed poised to break through to major mainstream success after Redding had dominated the R&B charts for several years. However, Redding's considerable gifts as a vocalist and live performer have tended to overshadow his legacy as a songwriter -- he wrote nearly all his best-known tunes, and the earthy but heartfelt emotional immediacy of his songs made them powerful material in his hands, as well as those of other artists. Ace Records have made a compelling case for Otis Redding the songwriter on the compilation Hard to Handle: Black America Sings Otis Redding, which features 24 covers of Redding's compositions from 23 artists (Redding's protégé Arthur Conley gets two numbers), as well as a rare performance by Redding himself. While Aretha Franklin's recording of "Respect" is here (one of the few examples of a singer beating Otis on one of his own tunes), most of the other selections are relatively obscure, but there's plenty of top-shelf talent on deck, including Irma Thomas ("Security"), Percy Sledge ("I've Got Dreams to Remember"), Lou Rawls ("Fa-Fa-Fa-Fa-Fa-Fa [Sad Song]"), Etta James ("I Got the Will"), and the Staple Singers ("Sitting On the Dock of the Bay"). What's surprising with many of these recordings is how strongly Redding's original performances defined the songs, and how the vocalists and arrangers tend to defer to the originals, even in the case of artists who had strong styles of their own; while most of these singers find something of their own in Redding's songs, his melodic style was so distinct it's hard for anyone to sing something like "These Arms of Mine" or "Hard to Handle" without a bit of Redding showing through (though Judy Clay's transformation of "Mister Pitiful" into "Sister Pitiful" shows admirable spirit). Hard to Handle is a fine testament to the lasting importance of Otis Redding as an artist and a composer, as well as a top-notch collection of deep soul from the '60s into the '80s, indicating how powerful his legacy has been." AMG

Sunday, January 12, 2014

Willie Clayton - Let's Get Together



As long as he's been recording (from 1969 through the 2000s), one might think that Willie Clayton is an old geezer. No way -- he was just past the age of 40 when he hit his commercial stride with a couple of blues-soul albums for Ace that sold well to the Southern market (where the two interrelated idioms have never been deemed mutually exclusive).

After his debut single for Duplex, "That's the Way Daddy Did," went nowhere, Clayton left Mississippi for Chicago in 1971. Like his older Windy City compatriots Otis Clay and Syl Johnson, the young singer ended up contracted to Hi Records in Memphis, where he worked with producer Willie Mitchell and the vaunted Hi rhythm section. Hi issued a series of fine Clayton efforts on its Pawn subsidiary, including "I Must Be Losin' You," "It's Time You Made Up Your Mind," and "Baby You're Ready," but none of them hit.

Finally, in 1984, Clayton enjoyed a taste of soul success when his "Tell Me" (produced by General Crook) and "What a Way to Put It" for Compleat Records nudged on to the R&B charts.

Let's Get Together, Clayton's 1993 album for Johnny Vincent's Ace logo, was a smooth soul-blues hybrid dominated by originals but titled after Al Green's immortal hit. Simply Beautiful, his Ace follow-up, found Clayton mixing dusties by Rev. Al, Aretha Franklin, and Arthur Crudup with his own stuff. It's About Love followed in 1999.

Memphis Marvels, part B

Good morning! Part 2 from this marvelous set. Mostly jubilee and quartet here; the only instrumentation I've heard is the single guitars or the occasional piano. So far I've been particularly impressed by the Prisonaires and just blown away by the Dixie Nightingales! Hmmm...the Spirit of St. James are killer too, this service is gaining steam! Enjoy your morning and God Bless our boys The Saints, next year we beat those guys from the Northwest in the ugly uniforms!

Saturday, January 11, 2014

Snooks @ Storyland,

Snooks was a musical force of nature - his wondrous brain contained 1000's of songs that he could play at a moment's notice, each in an entirely unique Snookified version. At some point EVERY night you found yourself mentally saying "this may be the most amazing guitar player I've ever seen". Even though they were very different people, the blinding talent (unintentional joke) was similar to James Booker. 


Friday, January 10, 2014

Earl King @ Tipitina's 1991


Another unpublished flashback


Earl King was certainly a veteran of the Chitlins Circut. Earl used to travel and perform as Guitar Slim because no-one knew what Slim looked like and Slim wanted to stay home in New Orleans.
This is the best live Earl King show you will ever hear, period. This show was a live WWOZ broadcast from an event called R & B Night at Tipitina's. Earl is with George Porter, Red Morgan and most likely whoever else was in The Running Partners of the time. The opening track is George and The Pahtna's, and then, it's star time ....Earl comes out to sing a thoroughly satisfying program of some of his best known tunes. Earl was a great singer and and a gifted writer with an unusual, lean guitar style. He is one of the very few song writers whom Jimi Hendrix covered (Let the Good Times Roll on Electric Ladyland). Any fan of Earl King or just New Orleans music in general will find this one is a must have.

Earl King - R & B Night at Tipitina's 1991
WWOZ radio broadcast
1 Running Partner
2 Over the Hill
3 Lonely, Lonely Nights
4 Trick Bag
5 Things I Used to Do
6 Always a First Time
7 You and I
8 Time for the Sun to Rise
9 Let the Good Times Roll

Tuesday, January 7, 2014

Dalton Reed - Louisiana Soul Man 1991

When Scott Billington of Rounder Records began looking outside of New Orleans for Louisiana talent, one of the real gems he found was this master welder by day who was also a choir director in his church, and a fine blues/soul singer in the Lafayette, Louisiana music clubs scene at night. The story is that Dalton had a couple low budget 45's on a restaurant jukebox and Billington came in to eat and heard them. I think of him as the Johnny Adams of Lafayette. He has the same kind of rich, buttery sound and draws material from similar sources. This was his first ever album and first work with a real production team. I think you will find that he rose to the occaision. If you don't like his opening version of 'Baby Read Me My Rights' then I just don't know what to do with ya!

"  Dalton Reed attempted to keep the sweet sound of deep soul alive in the '90s. The Lafayette, LA, singer comes from a gospel background -- a prerequisite for success in the genre -- and cut his first single for his own little label in 1986.
  When he was child, Reed sang gospel in church and played trumpet in his high-school marching band. Reed fell in love with R&B and soul as a teenager, prompting him to join a few local bands. Soon, he formed his own group, Dalton Reed and the Musical Journey Band. In a short while, the band was playing bars and clubs throughout Louisiana, Alabama, and Texas.
  Reed founded his own record label, Sweet Daddy Records, in 1986, releasing his debut single, "Givin' On in to Love," that same year. Within a few years after the formation of Sweet Daddy, Reed and his brother Johnny formed another independent label, Reed Brothers Records." AMG

Louisiana Soul Man
  In 1990, Bullseye Blues signed Reed and the label released his debut album, Louisiana Soul Man, the following year. Three years later, his second album, Willing & Able, appeared. When he wasn't recording, Reed toured, playing concerts throughout America.  
Addendum While on tour in support of the second Rounder album Dalton was found dead in his hotel room prior to a gig in Minneapolis, he died of heart failure at only 40 years old.

Monday, January 6, 2014

What Was The First Rock n Roll Record, Part 1


"What Was The First Rock 'N' Roll Record by Dawson & Propes (1992) is one of those books which makes you want to hear the music AND generates conversation about the authors' choices. Each of the 50 songs chosen has several pages devoted to the background of the artist and the song. To me the most interesting contribution is the introduction to each entry that includes a list of additional recordings which identify the influences, cover versions and remakes of each piece.

I'm sure each of us has their own opinion and I can hear folks yelling “where is...”. Personally I would have included the Griffin Brothers' Weepin' & Cryin' (1951)." Unkie Cliff


 What would YOU add? If we get enough, I'll make another out of those - Part 2 of the original 50 will be up soon.

Clay Hammond - Streets Will Love You

Clay Hammond ‎– Streets Will Love You
Label: Evejim Records – EJ 1999
1989

A1 Streets Will Love You     3:26    
A2 License To Steal     4:23    
A3 Too Many Irons In The Fire     3:53    
A4 I Know What Love Is     3:55    
B1 They Don't Makeum No More     3:44    
B2 Ask Me For What You Want     3:03    
B3 Part Time Love     4:15    
B4 Monkey     4:20

  "Clayton Hammond Jr born 21 June 1936 in Groesbeck, Texas
Clay Hammond was an original founding member of the Gospel greats "The Mighty Clouds Of Joy" in the late 50s  Clay was the older brother of Walter Hammond, who was a singer with the original Olympics. Initially achieving success as a songwriter, Clay's composition 'Part Time Love' was a number 1 R&B single for ' Little' Johnny Taylor. Hammond later recorded for several labels, including Galaxy and Duo Disc, before settling with Kent in 1967.

His releases included two superb southern soul ballads, 'You Messed Up My Mind' (1966) and 'I'll Make It Up To You' (1968). Clay's subsequent recordings were more irregular, although a successful Japanese tour did produce an album, These Arms Of Mine. In 1981 he joined the Rivingtons, who were still working the oldies circuit on the strength of their novelty hit 'Papa Oom Mow Mow'. Hammond later sang with one of the many different Drifters groups while continuing to record as a solo artist

.His most well-known efforts from that time are the four singles he did for Kent between 1966-69. These mixed Southern soul, gospel, and blues styles, yet also had a somewhat lighter and poppier production aura than much Southern soul, perhaps because they were recorded in Los Angeles. All eight songs from these 45s, as well as eight others that were recorded but not released in the 1960s, appear on the Ace CD Southern , which also includes ten tracks recorded for Kent around the same time by fellow soul vocalist Z.Z. Hill.

"Clay's bittersweet, almost crying vocals bestow a syllable-bending nonchalance with a lyric, always belying an obvious Sam Cooke influence, though no one has ever mastered this style with quite the flair of Hammond, (Johnny Taylor, Bobby Womack and James Phelps arguably excepted!!)." from Southern Soul Brothers cd notes

Sunday, January 5, 2014

Eddie Bo - A Shoot From The Root

I bought this CD with Kingcake in mind. It's a gift on behalf of all of the Chitlins regulars KC.  We love you bruh and cherish all that you do.

This album is just as funky as anything else he did... cop it y'all!!!

Eddie Bo was a fairly major New Orleans R&B figure ("Check Mr. Popeye") in the '60s and Shoot from the Root is his return on a European label after an extended absence from recording. Think that spells comeback by a veteran going through the correct motions for reverential roots rockers? Well, better think twice, because Bo has crafted a really, really vital disc that almost shockingly makes you believe there's still some fresh life in that venerable New Orleans R&B tradition.
The title track boasts a great groove with tuba, King Floyd-style horns, and very sharp, literate Afro-centric lyrics delivered by Bo in great voice. "Groove in My Soul" just pops on all cylinders; Bo has assembled a collection of graybeard contemporaries and the whole band, especially drummer Herman Ernest, is playing hard without getting in each other's way. You can also hear it in the sharp, sophisticated horn charts and funky rhythm to "Old Fashioned Sookie" and, well, maybe the bottom line of Shoot from the Root is that these veterans sound like they're really having big-time fun playing the music. There are fine ballads ("O'Lady," "I Love You in Every Way") and "Kick It on Back" shows Bo's real knack for funny, smart James Brown-style catch phrases with organ and drums shining in the arrangement. "Will I Ever Learn?" is just a quality, punchy, compact R&B tune and Bo doesn't even bother with an intro to "Let's Get It Straight," jumping right into the verse and singing up a storm supported by nice horns and bring-it-on-home drums. Both tracks leave you saying out loud that this is a great record, that there's life in old New Orleans R&B yet; so does "Fingers," a '50s rock & roll/R&B piano instrumental with Bo tickling the ivories while backing singers chant "Go, Mr. Piano Man, go!" when the horns aren't tossing in nice lines. Yeah, there are a few loose ends, but if you care, you got no idea what serious fun is. "Every Dog's Got a Day" is equally seriously funky, with Eddie Bo singing his butt off, Bo Dollis of the Wild Magnolias hoarse and convincing, and the masterful Johnny Adams coming in clean and serene with a couple of finale soul screams. And Adams is in absolutely devastating form on "Bring It on Home" (an Eddie Bo blues number, not the Sam Cooke hit), with the leader cheering him on. Dollis' hoarse pleading doesn't have a prayer of following Adams' commanding singing, but know what? I can't imagine the idea of giving a good goddamn ever crossed the mind of Bo Dollis or Eddie Bo or anyone else during the session. These veteran musicians grew up playing this music because they loved it and Eddie Bo has crafted a set of challenging songs that's rekindled that spark. Hell, you can say some grooves go on a little too long and that "Dance Dance Dance" is pretty slight, but why quibble? If you like classic New Orleans R&B but figured it had long ago reached a creative dead end, Shoot from the Root is one helluva delightful surprise. - Don Snowden / AMG 4.5 out of 5 Stars!!!!

Memphis Marvels Disc A

 Let's go back to some classic Gospel for this first Sunday of the new year. This box set is so dense I think it is best digested in pieces for the average listener.

"This is a terrific selection of Memphis gospel. It starts in the late twenties with, among others, the recordings of The I.C. Glee Quartet, The Bethel Quartet and AC & Blind Mamie Forehand, through the thirties and forties with The Spirit Of Memphis Quartet and then into the early fifties with The Songbirds Of The South and The Southern Wonders and on to the late fifties soulful sounds of The Dixie Nightingales and OV Wright and The Sunset Travelers. Compiler Opal Louis Nations has dug deep into his collection to chart the development of Memphis gospel with hard-to-find rarities from labels like Perkins, Peacock, Sun, Pepper and Duke and even rarer test pressings made at radio stations.
It's a great anthology - it doesn't matter which track you choose, it's guaranteed to be a belter! For example The Gospel Travelers God's Chariot in which all hell lets loose in the sound effects department and Queen C Anderson's belted-out call-and-response blockbuster I Never Heard Of A City which segues into the handclapping stomper These Are They. Then there's The Spirit Of Memphis Quartet delivering their deep, and I mean deep, harmonies on the old classic Happy In The Service Of The Lord. The Sunset Travelers really take off on their vocals and drums steamer Wish I Was In Heaven Sitting Down, The Southern Wonders bring a bit of down-home swing to Lord Stand By Me and Cassietta George sings like a woman possessed as she leads The Songbirds Of The South on their tremendous version of Ninety Nine And A Half Won't Do."