Slim Harpo - The Excello Singles Anthology

"Born James Moore in Lobdell, Louisiana, United States, the eldest in an orphaned family, he worked as a longshoreman and building worker during the late 1930s and early 1940s. He began performing in Baton Rouge bars under the name Harmonica Slim and later accompanied his brother-in-law, Lightnin' Slim, both live and in the studio.

Named Slim Harpo by producer J.D. "Jay" Miller, he started his own recording career in 1957. His solo debut was the Grammy Hall of Fame single "I'm a King Bee" backed with "I Got Love If You Want It."

Harpo recorded under A&R man J.D. "Jay" Miller, in Crowley, Louisiana for Excello Records based in Nashville, Tennessee, and enjoyed a string of popular R&B singles, including Rock & Roll Hall of Fame inductee "Rainin' In My Heart" (1961) and the number one Billboard R&B hit "Baby Scratch My Back" (1966). On these recordings he was accompanied by the regular stable of Excello musicians, including Lazy Lester.

Never a full-time musician, Harpo had his own trucking business during the 1960s. He died following a heart attack at the age of 46, 20 days after his birthday. Harpo was buried in Mulatto Bend Cemetery in Port Allen, Louisiana." wiki

"... He was born James Moore just outside of Baton Rouge, LA. After his parents died, he dropped out of school to work every juke joint, street corner, picnic, and house rent party that came his way. By this time he had acquired the alias of Harmonica Slim, which he used until his first record was released. It was fellow bluesman Lightnin' Slim who first steered him to local recordman J.D. Miller. The producer used him as an accompanist to Hopkins on a half-dozen sides before recording him on his own. When it came time to release his first single ("I'm a King Bee"), Miller informed him that there was another Harmonica Slim recording on the West Coast, and a new name was needed before the record could come out. Moore's wife took the slang word for harmonica, added an "o" to the end of it, and a new stage name was the result, one that would stay with Slim Harpo the rest of his career.

Harpo's first record became a double-sided R&B hit, spawning numerous follow-ups on the "King Bee" theme, but even bigger was "Rainin' in My Heart," which made the Billboard Top 40 pop charts in the summer of 1961. It was another perfect distillation of Harpo's across-the-board appeal, and was immediately adapted by country, Cajun, and rock & roll musicians; anybody could play it and sound good doing it. In the wake of the Rolling Stones covering "I'm a King Bee" on their first album, Slim had the biggest hit of his career in 1966 with "Baby, Scratch My Back." Harpo described it "as an attempt at rock & roll for me," and its appearance in Billboard's Top 20 pop charts prompted the dance-oriented follow-ups "Tip on In" and "Tee-Ni-Nee-Ni-Nu," both R&B charters. For the first time in his career, Harpo appeared in such far-flung locales as Los Angeles and New York City. Flush with success, he contacted Lightnin' Slim, who was now residing outside of Detroit, MI. The two reunited and formed a band, touring together as a sort of blues mini-package to appreciative white rock audiences until the end of the decade. The new year beckoned with a tour of Europe (his first ever) all firmed up, and a recording session scheduled when he arrived in London. Unexplainably, Harpo -- who had never been plagued with any ailments stronger than a common cold -- suddenly succumbed to a heart attack on January 31, 1970." Cub Koda

Early Black Rock 'N Roll Vol. 1 & 2

Shakey Jake

This post is born out of a couple things. 

Firstly, I took an interest in the Trikont label after KC's most unusual post of Black Country.  As a result I picked up more than a handful of incredible comps.  This is a label which select tracks meticulously and remaster them to perfection.  All have been a real joy to listen to and worth every cent.

More recently, KC and I were discussing how to incorporate some of the more rock type figures into Chitlins.  Chuck Berry and Bo Diddley were discussed and I was basically tasked with bringin these heavys to all of you followers.




Well, I thought to break the ice I would share these two amazing comps - guaranteed to have your media player on repeat.  We are revisited by more than a couple of artists which KC has profiled extensively;  Little Willie John, Howlin Wolf and Ike Turner to name a few.  But we are introduced to many seminal figures in the birth of rock like Shakey Jake, the Bill Davis Trio, Lazy Lester and Slim Harpo.



Vol. 1 1948 - 1958

 These two stellar mixes are mostly important for us at this juncture for the women they feature.  I'm certain KC has some greats comin down the line, so for now we get a taste of Big Maybelle, Etta James, Ruth Brown and several others.

The music here is so infectious, it's a guarantee that you'll be boppin around once you are into it.  It's easy to see why rock took off like it did, there's nothing but fun to be had listening to this stuff.  Even lyrical themes of love lost, aging and other downbeat subjects are given the uptempo, dancable treatment.

Translated from the Trikont site:

Long before Elvis had rolled his pelvis, or the Rolling Stones tapped into the Mississippi-Blues, and the legions of white bands made their electrified guitars roar, black Blues-Gospel & Jazz artists had laid the cornerstone for the musical revolution known as Rock n Roll! Besides well-known names like Chuck Berry, Howlin’ Wolf, or Bo Diddley. This comp also features many unjustly overseen musical pioneers.



Vol. 2 1949 - 1959

 From gospel singer Rosetta Tharpe, to Jimi-Hendrix-idol Johnny Guitar Watson, from Ike Turners early Rockabilly-blueprints, to the Doo-Wop-Rock of Ruth Brown. Other artists, including Magic Slim, Andre Williams, Big Maybelle, Rufus Thomas, Lazy Lester, Etta James, and Jesse Stone are featured on this release.

Big Maybelle

“Whatever you call it, it’s wonderful, spirited stuff, ranging from the primal blues spirit of Howlin’ Wolf to the rocking gospel of cover star Sister Rosetta Tharpe, the most influential female guitarist since the legendary Memphis Minnie. Fischer’s selection focuses on the seamier R&B which swept away the eunuch sentimentality of 1950s white pop “like a window being opened to let out the stale air”, as Nik Cohn characterised it: the lascivious snarls of Big Mama Thornton and Little Esther Phillips, the latter’s complaint of “Hound Dog”; the lothario charm of Johnny Guitar Watson; the automotive sex metaphors of Chuck Berry and Billy The Kid Emerson; the hypnotic-exotic rhythms of Rosco Gordon, John Lee Hooker and Bo Diddley; the black rockabilly of Tarheel Slim; and the downright weird, borderline tasteless fantasies of Andre Williams and Sly Fox.”    

(4/5 Stars, The Independent, UK)



Trikont Records
US-0392 / 0412
released 2010