Lou Pride - The Memphis / El Paso Sessions 1970-73

Lou Pride (May 24, 1944 - June 5, 2012)
He was born George Louis Pride, in Chicago, Illinois, United States. Pride grew up on Chicago's north side and attended the First Baptist Church, where the pastor was Nat King Cole's father.

After service in the United States Army, Pride met and married a female singer and they settled in El Paso, Texas. They performed as a singing duo before, after seeing B.B. King perform live, Pride concentrated his singing future around the blues and soul music genres. Pride recorded his first two singles in the early 1970s. These were "I'm Com'un Home In The Morn'un" (1972) and "Your Love Is Fading," the latter released by Suemi Records. After relocating to New Mexico, he recorded sporadically whilst constantly performing in blues clubs and at festivals on the chitlin' circuit. Other tracks of his that were released over this period included "Look Out on Love," "We're Only Fooling Ourselves," "You've Got to Work for Love," and "Been Such a Long Time." Pride's debut album was entitled, Very Special (1979), which was released by Black Gold Entertainment. Several singles were issued before Gone Bad for a Very Special Reason (1988) was released, which had an almost an identical playlist to his debut effort.

Returning to Chicago, he became acquainted with Curtis Mayfield, which saw Gone Bad Again (1990) being issued. However, Pride's recordings remained second place to performing live. The WMB Records release, Love at Last (1995), contained re-recordings of several of Pride's earlier cuts. His 1997 Ichiban release was Twisting the Knife, followed by I Won't Give Up (2000). Pride signed a recording contract with Severn Records in 2002, which preceded his first release for them, Words of Caution. His early 1970s recordings were collected on the compilation album, The Memphis/El Paso Sessions 1970-1973, which Severn issued in June 2003. Allmusic noted that the collection "remains a treasure trove of previously obscure soul music that spotlights one of the many great singers almost lost to history."

In 2004, Pride undertook a brief tour in the UK. Alongside Darrell Nulisch, Pride was also the headline act at the Severn Records Soul and Blues Revue, in Chicago, in 2006. Snippets of his composition, "Bringin' Me Back Home," were used in the 2007 film, Feast of Love. Pride's appearance at the Severn Soul Review in 2010 was a significant comeback. He had been booked to appear in 2004, but he had had a heart attack before he could perform.

Following a period of ill health, Pride died in Chicago in June 2012 of natural causes. He was aged 68. (wikipedia)

Betty Harris - Soul Perfection Plus - Complete Jubilee - Sansu - 555 International Masters 1963-1969

 I'm not sure how it took me so long to get to this! Sometimes the obvious escapes your attention.Thanks to Cliff for this nice Westside edition which sounds far better than my old Charley version.

"Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer. Her recording career in the 1960s produced three hit records that made the Billboard R&B and pop charts: "Cry to Me" (1963), "His Kiss" (1964) and "Nearer to You" (1967). However, her reputation among soul music connoisseurs far exceeds her commercial success of the 1960s, and her recordings for the Jubilee and Sansu record labels are highly sought after in the 2000s by fans of Northern Soul and Deep Soul.

In 1963, after being in the music business for a few years, Betty Harris recorded a slowed down version of Solomon Burke's hit of the year before, "Cry to me", produced by the original record's producer, Bert Berns, and released on the Jubilee record label. Taken at a slower pace, Betty's rendition turned the song into a Billboard pop# 23 hit and Deep Soul Classic. A total of 8 songs further singles were released on Jubilee, also produced by Bert Berns, with "His Kiss" released 1/04/64, another Deep Soul ballad, making the lower part of Billboard#89 Pop and R&B charts.

In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by legendary New Orleans producer Allen Toussaint. Her Recording with Sansu produced 20 singles. Of those, only "Nearer to You" Billboard # 85, an atmospheric, dramatic soul ballad, now considered one of the milestones of Deep Soul, achieved U.S. national chart success. However, practically all of her recordings for Sansu, uptempo tunes and ballads alike, featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements behind with Betty's rich, distinctive vocal, are considered prime specimens of the classic soul era; some notable recordings were "I'm Evil Tonight", a beat ballad favored among Northern Soul circles; "I Don't Want To Hear It", "Show it" and "Twelve Red Roses", stirring uptempo tracks; "Can't Last Much Longer" and "What'd I Do Wrong", emotive Deep Soul ballads.

All of the Sansu recordings were compiled into an album released in the U.K. (but not the U.S.), in 1969, called "Soul Perfection", an album which, in its vinyl format, although not extremely rare, commands relatively high prices of $200 to $300 in 2007.

A comprehensive CD compilation of Betty Harris recordings was released in 1999 by UK rerelease label, West Side.

In 2004, Betty Harris returned to the music business after a long departure.

She has made several public appearances in the U.S. and Europe, including the 2007 Porretta Soul Festival in Italy, and has recorded a new album, Intuition.

Dirty Laundry - The Soul of Black Country

A repost for Lou the C, I've included both volumes: 

I figure this is a good time to bring this forward for those who missed it. Another unusual compilation from Unky Cliff! More black county and we are not talking Charlie Pride here either! Look at the names and you can see that this one belongs right here!

"Today's country and soul worlds seem increasingly divided not by style so much as by race. Although modern white country singers have obviously been influenced by the vocal approaches of black soul singers, we have been led to believe that country music is the almost exclusive purview of white artists, Charley Pride notwithstanding. Luckily, Dirty Laundry: the Soul of Black Country, a new release from the German label Trikont, explores the long connection and crossover between soul music and country music, addressing the misconception that black music has evolved along a branch completely divorced from the country music that has come to be associated with white America.


 Beyond musicological considerations, though, is the music itself. And Dirty Laundry is an absolutely terrific collection of country songs performed by black artists. Many of the performers give soul and black gospel settings to songs by Hank Williams or Harlan Howard or songs best known as hits for artists like Tammy Wynette or Johnny Paycheck. Others, like Stoney Edwards (whose "She's My Rock" comes complete with vocal scoops a la George Jones), give the full-on country treatment to classic country tunes both famous and less well-known.

There are too many fantastic tracks to mention here, but check out Earl Gaines' version of Jimmy Davis' "You Are My Sunshine"--it's a total funky sixties makeover. Candi Staton does a great soul version of "Stand By Your Man" and Etta James delivers chills with her gospel-tinged take on "Almost Persuaded," a Billy Sherrill/Glen Sutton hit written for David Houston in 1968. Johnny Adams recorded "In A Moment of Weakness" in Nashville and, although that town's influence is more subtle here, this is a cheatin' song whose lyrics stand with the greatest of country hooks: "What she don't know won't hurt her / But the hurt is killing me." Otis Williams' "Shutters and Boards" is classic radio honky-tonk with the requisite modulation and steel guitar and fiddle whining behind the honest vocals.

The accompanying booklet, by producer Jonathan Fischer, is a treasure trove of information about the age-old exchange between soul, gospel, and country, as well as about the individual artists. When asked why he put out a country album, legendary R&B producer Andre Williams (Bobby Blue Bland, Stevie Wonder, Tina Turner) reminds us (at the beginning of Fischer's liner notes) that there's scarcely a great soul singer who hasn't recorded Country songs. While the connection may be less in evidence today, to artists of the generation represented on Dirty Laundry the link was natural and obvious.

And the Pointer Sisters and James Brown at the Opry?

Well, the Pointer Sisters wrote a crossover country song called "Fairy Tale" that garnered them both their first Grammy and an invitation to play on country music's hallowed stage, the first black female act to ever grace it. Anita Pointer remembers, "When we first performed at the Grand Ole Opry, the audiences loved us. But at the hotel where there was a party for us, the staff assumed we were the hired help and directed us toward the back door." James Brown was invited onto the Opry by Porter Waggoner, and after playing a medley of country songs, including "Your Cheatin' Heart," launched into his funk set. Some felt the Opry had been "desecrated" and James Brown recalled his reception this way, "I felt I got as much praise as a white man who goes into a black church and puts $100 dollars in the collection plate."

While issues of race may have always attempted to draw hard musical lines in the sand, Dirty Laundry is a potent and uplifting reminder that such divisions are arbitrary at best and do not represent the true and ongoing organic flow between genres of music." • Judith Edelman

Nice review Judy. Hats off to the Trikont folks, this is a real winner of a compilation. One of these days we will come up with volume 2.

The Supreme Angels - Drinking Of The Wine 1966

From Dr. Hepcat for our Sunday listening pleasure.

These guys are better known as Rev. Howard 'Slim' Hunt and the Supreme Angels. This is a lovely slice of their early work on the Nashboro label.

Percy Sledge Sings Country

A re-post by request:

If the connection between deep southern soul and country music hasn't been evident to up to now then YOU have not been paying attention my friend.

Percy rocked the world with "When A Man Loves A Woman" in 1966, but he quickly screwed himself ala Little Willle John by becoming known as an irresponsible fuck-up while on tour. There was no quicker way to loose the respect of your peers than to repeatedly allow your vices to screw with the show.

 By the time of this 1979 album Percy had largely vanished from the public eye. When I got to chat with him in the late 90's this was one of the unknown albums that he mentioned with pride.

For some reason every mention of this album has only 9 tracks, even the CD version on CD Universe. Well I haven't the faintest idea where my copy comes from but I have 14 tracks so HELL YEAH! Don't care where they came from!

"Sings Country album by Percy Sledge was released Mar 18, 2008 on the Gusto label. Percy Sledge's fate and fame will forever rest on the shoulders of his massive 1966 hit, the forlorn ballad "When a Man Loves a Woman." With its funeral pace and churchy organ, coupled with Sledge's pleading, compassionate vocal, "When a Man Loves a Woman" is one of the most fascinatingly desperate songs in pop history. Sings Country music CDs Although he was one of Southern soul's greatest singers, Sledge never got that near the sun again, at least not commercially. Sings Country songs This collection, recorded with some of Nashville's best session players in 1979, finds Sledge going straight honky tonk, covering Johnny Cash's "I Still Miss Someone," Lefty Frizzell's "If You've Got the Money I've Got the Time," and a pair of Merle Haggard songs, "Today I Started Loving You Again" and "Mama Tried," with an easy and comfortable assurance. Sings Country album It may be country, but that doesn't mean it isn't soulful. Sings Country CD music A nice, if understated, set. ~ Steve Leggett"

If you get a kick out of this one, be sure to check out Dirty Laundry

Where Southern Soul Began

A re-post by request:

All in all, I'd have to say that this is a really strong compilation of material that very much tracks with the posts done here over the last couple years. The 2 discs of material make for a really nice listening experience too, which is, after all, the most important thing. There is a nice mix of tunes you will know and many others that will be new.

 "The Golden Age of southern soul lasted from about 1964 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana’s swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, these CDs reveal many of the black musical antecedents that gave southern soul its greatest inspirations. A good few of the artists here, represented in their early attempts at creating an individual style, went on to become some of the biggest stars of the '60s. Other musicians on these collections, perhaps less famously, provided ideas and techniques that became stylistic standards in the coming years. If you ever wondered what musical forms lay behind the southern soul explosion, the answer is in these tracks. If you thought that secularised gospel singing started with Sam Cooke and Ray Charles, think again as you listen to vocalists who pioneered this many years before they did. And if you were of the view that the players and producers at Royal Studios, or Fame or Cosimo’s in New Orleans invented something completely unheard of, you were wrong."

Southern Funkin'-- Louisiana Funk and Soul 1967-1970

By now it should be clear that I'm clearing the re-post cue so if you've requested something. be patient, it's coming.

It's funny how much difference that fewer than 100 miles North can make, but this shares very little with the New Orleans Funk of the same time period. That surely doesn't make it bad by any means, just different.

Johnny Adams - Live in New Orleans unpublished broadcasts

Another re-post: 

I gotta say that it always bothered me that this got no response when I first posted it here - I mean how often do you have a shot at unreleased Johnny Adams?

Johnny was a singer's singer blessed with a huge, personal sound that made anything he chose to sing thoroughly authentic. He had a good ear for songs and does some of the greatest ever covers of writers like Doc Pomus and Percy Mayfield. In my mind, Adams perfectly represents the gumbo of New Orleans music; he's at home with jazz, blues, funk... hell with those pipes he could sing any damn thing he wanted.

Johnny Adams - Live in New Orleans
unpublished broadcasts

1) Intro
2) Georgia
3) You'll Never Have a Man Like Me
4) A Room With a View of the Blues
5) Please Send Me someone to Love
6) One Foot in the Blues
7) Married Women
8) CC Rider
1-8 @ Tipitina's 1/28/98 w/ the Dave Bartholomew Orchestra

9) Until You
10) I Cover the Waterfront
11) I Lost My Mind
12) Roadblock My Baby
13) The Verdict
14) Walking on a Tightrope
9-14 @ Howling Wolf, Rounder Jazz Fest Party 4/29/95 w/ Torkanowsky,Vidacovich, Singleton & Plas Johnson.

Johnny Adams - Sings Pomus and Mayfield

A re-post by request: After reading my own earlier introduction I've determined that one of these days soon I'll expand this bad boy with All the other covers that Adams did of these two giant songwriters just to make "The Ultimate" version:

1/19/14  Well I brought this up now didn't I? These two albums do not represent the sum total of J.A. covers of either of these two, they were clearly favorites of his, but it is wonderful to have two entire albums dedicated to these marvelous songwriters.

"Whenever Johnny Adams does a repertory album, it's as much his own showcase as a forum for the spotlighted composer. Even Percy Mayfield's lyrically brilliant works don't hamper Adams from displaying his special magic; his treatments on the session's ten tunes range from excellent to magnificent. Adams is gripping on "My Heart Is Hangin' Heavy," nicely bemused on "The Lover and the Married Woman," and convincing on the title track and "Danger Zone." Although he's done numerous Rounder vehicles, Adams hasn't yet turned in a dud."

"The late Doc Pomus was one of the top songwriters in the R&B/blues tradition while Johnny Adams was one of his favorite singers; their eventual matchup was quite logical. Pomus wrote a few new songs and worked with Adams on planning this Rounder CD up until his own death. Fortunately the project was not halted and resulted in an enjoyable set. Pomus' intelligent and universal lyrics perfectly fit Adams' style which features flawless enunciation and an ability to sincerely convey a wide range of emotions. With hornlines arranged by Red Tyler, occasional brief solos contributed by pianist Dr. John and guitarist Duke Robillard, and top notch singing by Johnny Adams, Doc Pomus' music is well served on a strong set of blues and ballads."

Buddy Ace - The Duke Recordings

Another repost by request:

I've finally found a collection of Buddy Ace's Duke singles! They have not yet received any modern remastering so they are still mixed for jukeboxes, but it is better than nothing.

Born Jimmy Lee Land in Jasper, TX, on November 11, 1936, bluesman "Buddy Ace" was known as "The Silver Fox of the Blues". His name was changed to "Buddy Ace" by Duke's Don Robey after Johnnie Ace's younger brother (St. Clair Alexander) had no success with the handle. Lee Land started out singing in gospel groups (at least one of which also contained Joe Tex) before going into R & B in the early 50s. He toured in Bobby Bland and Junior Parker's bands before he finally got a record contract of his own with Duke/Peacock in 1955. In the mid-'60s, Ace had several R&B hits including "Nothing in the World Can Hurt Me (Except You)" and "Hold On (To This Fool)," but he never scored a major breakthrough. Buddy relocated to Los Angeles in 1970 (after the sale of Duke and death of Don Robey) and later moved to Oakland; he spent much of this period touring in and around the Bay Area. (including Eli's Mile High Club, Jack's and Larry Blake's) Ace continued to perform and record into the '90s with 3 albums released on Leon Haywood's Evejim imprint. Ace passed away on December 26, 1994, at 58 while performing in Waco, TX.

Chuck Carbo - Life's Ups and Downs (vinyl to flac)

A repost request -- 

This was the beginning of Carbo's 90's comeback. A pair of Rounder releases would follow. (If anyone has copies of those two, by all means let me know.) This was also the last session that Alvin 'Shine' Robinson played on, he died a couple months later. 
 
Review: "Several people with well-regarded opinions will, without prodding, tell you that the most distinct voice of the classic period of New Orleans rhythm and blues belonged to Chuck Carbo. That’s quite a compliment considering Carbo graduated from the same class as Johnny Adams, Danny White, Aaron Neville and Roland Stone. Carbo was the lead vocalist with the Spiders, who had a couple of national hits—and several great records—in the mid-1950s, and had a locally successful solo career in the early-1960s. The demise of the New Orleans sound hamstrung his career in the mid-1960s and Carbo was forced to deal with such mundane activities as finding a nine-to-five, raising a family, making car payments and such.

Chuck Carbo & Sugarboy Crawford at Jazz Fest

Thankfully, Carbo’s career was resurrected by Mike Dine at 504 Records in the late 1980s when New Orleans R&B was enjoying a brief resurgence. What helps this album is the inclusion of several members of the old guard in the trenches, including Edward Frank, Charles Burbank and “Shine” Robinson. Those old enough to remember might recall that the centerpieces of this album, “Second Line on Monday” and “Meet Me With Your Black Drawers,” deservedly got lots of airplay (not just WWOZ) around every Mardi Gras in the early- 1990s. Carbo did a good job recycling several previous successes, including a couple of Spiders titles, the best being the tried-and-true “Witchcraft,” but his own “Bells in My Heart” still rings true. Carbo does a few passable Imperial-era covers (the Spiders recorded for Imperial), and he does a superlative version of Earl King’s “Life’s Ups and Downs,” a rather appropriate song for our man. The sound is vintage here without being dated. Perhaps this was attained by putting the then up-and-comer Shannon Powell behind the drums." 
Jeff Hannusch

The Showmen - Some Folks Don't Understand It {vinyl rip]

A repost by request:

 The Showmen were a New Orleans based American doo-wop and R&B group. formed in 1961. They are best remembered for their track, "It Will Stand", issued on Minit Records. "It Will Stand" (Minit 632) reached #61 on the Billboard Hot 100 in 1961, and when re-released in 1964 (Imperial 66033) re-charted and reached #80. They had another hit, the Carolina Beach Music standard "39-21-40 Shape;" the label on the single, however, was mistakenly printed "39-21-46," and this soon supplanted the official title.

Unlike the majority of musicians that recorded for New Orleans record labels controlled by Joe Banashak, The Showmen were not from that locality. They all came from Norfolk, Virginia, moving to New Orleans in May 1961 and April 1962, to record fifteen titles under the studio supervision of the then barely known Allen Toussaint.

General Norman Johnson, at the age of twelve, formed the group The Humdingers that would eventually become The Showmen. In the late 1950s, Noah Biggs began managing The Humdingers. He sent a demo to Banashak. The songs on the demo were "The Owl Sees You", "For You My Darling", "Skinny McGinny" and "I Go On Loving You". Banashak arranged for Toussaint to record The Humdinger. In 1968 Johnson amicably left the group, to begin his association with Holland-Dozier-Holland's Invictus Records. He became leader of the group Chairmen of the Board.

Birmingham Quartet Anthology

A re-post by request:

I was offline for a couple days and missed my Sunday gospel post, but rather than let the links go stale I'm going go ahead with it today.

A1     Golden Leaf Quartette –     I Wouldn't Mind Dying        
A2     Golden Leaf Quartette –     Sleep, Baby, Sleep        
A3     Birmingham Jubilee Singers –     He Took My Sins Away        
A4     Birmingham Jubilee Singers –     God Is Love        
A5     Birmingham Jubilee Singers –     Eliza        
A6     Birmingham Jubilee Singers –     He Died On Calvary        
A7     Birmingham Jubilee Singers –     Birmingham Boys        
A8     Four Great Wonders –     He'll Understand        
B1     Four Great Wonders –     Have You Any Time For Jesus        
B2     Famous Blue Jay Singers* –     I Am Leaning On The Lord        
B3     Famous Blue Jay Singers* –     Brother Jonah        
B4     Famous Blue Jay Singers* –     Clanka-A-Lanka        
B5     Famous Blue Jay Singers* –     I'm Bound For Canaan Land        
B6     Famous Blue Jay Singers* –     Standing Out On The Highway        
B7     Famous Blue Jay Singers* –     The Time Is Drawing Nigh        
B8     Famous Blue Jay Singers* –     Shall I Meet You Over Yonder        
C1     Dunham Jubilee Singers –     Holy Is My Name        
C2     Dunham Jubilee Singers –     I Dreamed Of Judgement Morning        
C3     Dunham Jubilee Singers –     My Mama's Baby Child        
C4     Dunham Jubilee Singers –     Who Stole The Lock        
C5     Ravizee Singers –     I Am Thinking Of A City        
C6     Ravizee Singers –     You'll Need My Saviour Too        
C7     Ravizee Singers –     He's All And All        
C8     Ravizee Singers –     Hide Me        
D1     Bessemer Sunset Four –     Climbing Jacob's Ladder        
D2     Bessemer Sunset Four –     Ham And Eggs        
D3     Heavenly Gospel Singers –     Rough And Rocky Road        
D4     Heavenly Gospel Singers –     Where Shall I Be        
D5     Heavenly Gospel Singers –     I'm A Poor Pilgrim Of Sorrow        
D6     Kings Of Harmony –     Lord Give Me Wings        
D7     C.I.O. Singers –     The Spirit Of Phil Murray        
D8     C.I.O. Singers –     Satisfied

Julius Cheeks - Hard Gospel Man

A collection of Julius Cheeks recordings to flush out those offered earlier and provided by our buddy Dr. Hep Cat once again. More than one person has commented here that they think of Julius as the greatest of the 'hard gospel' singers. Well here is your mother lode!

Frank Bey & Anthony Paule Band - Not Goin' Away

"San Francisco, though widely recognized for its cultural sophistication, and its contribution to the psychedelic sixties, has never been celebrated for being a blues town. Well, that is apparently changing, and this has been going on while the rest of the country is going about its localized music business. Spearheading this movement is the independent Blue Dot Records, which has been releasing exceptional records for over a decade now, the latest being the Bey Paule Band record Not Goin' Away. Led by two veteran performers as Frank Bey on vocals, and guitarist Anthony Paule, this outfit could arguably be the hottest soul-blues band in the Bay Area. With their third release on the label since "You Don't Know Nothing" and "Soul For Your Blues" were released in 2013 to wide acclaim, they keep the groove going with a mixed bag of down home blues and big city soul, wrapped and delivered with the authenticity of a rhythm and blues revue from yesteryear, complete with horn section and organist.

Frank Bey is the consummate soul singer who came up in the traditional gospel household in Georgia, paying his dues on the road with numerous gospel acts in his teens. His early brush with the big time was as an opening act for Otis Redding, before singing for several bands throughout the 1970's. He then went into a personal hiatus before surfacing in Philadelphia in 1996, putting out a record. By the turn of the new century he was in the Bay Area and eventually hooked up with Anthony Paule. Paule, meanwhile, had released several solo efforts in the mid '90's, all the while backing some of the biggest names in the business. The union of these two talents is one of those which was meant to happen, resulting in an extensive creative output.

From the biographical "Black Bottom," to the hard hitting "Right In Front Of You," the band supplies a solid backdrop for Bey to show that he can grind with the best of them. "Next To My Heart," and "Don't Ask Me How I Feel," bring the pace way down, where the vocals wring the most out of the lowdown lyrics, and then it's back up to the defiant "Not Goin' Away," which not only is the perfect title track, but should be the bands calling card. 'Ballad Of The Lover Man," with classic organ riffs by Tony Lufrano, harkens back to when soul music was made for jukeboxes, Saturday nights, and wishful thinking. The instrumental "Noel Haze," is done in the vintage Booker T & The MG's groove, complimented with a honking tenor by Nancy Wright.

The Bey Paule Bad performs in a manner which upholds the tradition from where this music came from, while keeping it relevant for today. This is not something one decides to do one day on a whim, but is the result of a lifetime of dedication and direction. Frank Bey, as good a singer as he is, could not do this alone, it is the combining with Anthony Paule and this perfect band that makes this an excellent record. Electric soul is what these guys are about, and they are not going away.

Track Listing: Black Bottom; Kiss Me Like You Mean It; Right In Front Of You; Next to My Heart; Someone You Use; This Party’s Done; Nobody’s Angel; Not Goin’ Away; Ballad Of The Lover Man; Noel’s Haze; Don’t Ask Me How I Feel; If I Could reach Out.
Personnel: Frank Bey: lead vocals; Anthony Paule: electric, acoustic and National resonator guitars; Paul revelli: drums, percussion; Paul Olguin: bass, back up vocal (1); tony Lufrano: Hammond B3 organ, grand piano, Wurlitzer; Nancy Wright: tenor sax; Mike Rinta: trombone; Tom Poole: trumpet; Christoffer “Kid” Anderson: slide guitar (7), rhythm guitar (12); Loralee Christensen: backing vocals (1, 2, 5, 7, 9, 12); Lisa Leuschner Anderson: backing vocals: (1, 2, 5, 7, 9, 12); Larry Batiste: backing vocals (1, 2, 5, 7, 9, 12); Jack Sanford: baritone sax (8).

Year Released: 2015 | Record Label: Blue Dot Records" all about Jazz, James Nadal

The Henry Gray / Bob Corritore Sessions - Blues Won't Let Me Rest

"The legendary blues pianist Henry Gray has collaborated with harmonica ace Bob Corritore since 1996. The visceral musical cohesiveness and their long standing musical bond has produced consistently stunning recordings that are steeped in purity and tradition. With Henry’s recent 90th birthday (born January 19, 1925), Bob Corritore took it upon himself to share some of these true musical gems from his seemingly infinite recording vaults. The first volume presents a 14 song selection recorded over a 19 year period, in which all but 4 tracks are previously unissued. Henry sings 9 of these selections and Robert Jr. Lockwood, John Brim, NappyBrown, Tail Dragger, and Dave Riley provide one vocal each. At the core of each of these songs are the Gray and Corritore team who demonstrate their robust musical prowess and understated taste. Joining the proceedings are a rotating lineup of some of the blues’ greatest musicians for a program of fully-realized songs that alternate between rollicking, partying jumps and shuffles to the deepest of blues!" Blues Magazine

Jackie Payne - I Saw The Blues

If you've lived in the Bay Area and you dig the Blues then you probably know of Jackie Payne. A very smooth dude with an all-pro delivery. A very nice man as well, almost forgot about him until my Unky C handed me this one - if you like it, I have a couple more.

"I Saw The Blues"" is the latest release from veteran bluesman, Jackie Payne. The 12 tracks feature 6 original songs by Jackie and 6 interesting cover tunes. Payne has been recording and performing since the 60s including stints with Albert Collins, Johnny Otis and more recently the Jackie Payne & Steve Edmonson Band. His 3 recordings with Edmonson on the Delta Groove label received many accolades including a number of Blues Music Award nominations. ""I Saw The Blues"" features some of the San Francisco Bay Area's finest musicians including Kid Andersen, Anthony Paule, Derrick D'Mar Martin, Bob Welsh, Lorenzo Farrell, Ed Early, and others. This CD was recorded at the famous Greaseland Studios in San Jose and mastered by Tom Size." 

B.B. King - Treasures Untold

Another gift from our favorite Unky! You may have heard that P-Vine put out a limited edition 17 discs and one LP set of B.B. King that is the nearest to complete set ever produced. Of course Cliff had to have it and managed, thru a mutual friend with Japanese connections, to acquire the beast. At some point down the road the rest of the collection will appear, but for now here is the LP that comes in the set. Most of these tracks have never been issued anywhere and the likelihood that you would have even the couple that have is very slim.

Pilgrim Jubilees - Peacock and Savoy sides

Rather than drag this out any further, I'm going to put two more label sections in this post so that I can move on. The details of these sections are the same as the two previous - thanks to Dr. Hepcat, Mr. Bob Laughton and Mr. Alan Young.  

These two sections bring us to modern times and the more current Malaco recordings of which I may post a couple at a later date.

btw people there has been an awful lot of downloading going on here lately without much commenting - that has to change or the posts will stop...just saying...

Wee Willie Walker - If Nothing Ever Changes

A couple years back preslives gave us a self made compilation of Wee Willie Walker tracks from the 60's and 70's. All killer stuff, but the story seemed to end there. Until quite recently anyway...imagine my surprise when Unky Cliff handed me a new cd from the same Wee Willie Walker!

more info here:  http://www.weewilliewalker.com/about/

Charles Smith - Ashes to Ashes + bonus

Wish I knew something more about this guy, information is pretty sparse and Dr. Hepcat didn't include scans when he sent me the files.

The editorial blurb at Amazon has this:  "Charles Smith worked with producer Dewey Vandiver in Muscle Shoals, recording at Vandiver's Quad City studio and at other local studios, including Fame. Charles Smith & Jeff Cooper had a big regional seller in 1972 with My Great Loss (Ashes To Ashes) and Smith followed it with three studio singles. This collection features all his released tracks plus alternate versions and previously unissued masters."

Charles Smith of 'Ashes to Ashes'fame was still with us in 2011 (at age 81) He' still alive at 81 and still good friends with Dewey.(source: Gary Cape on Jan 25,2011)

Charles was a member of the Entertainers (of 'Too Much' fame), prior to his solo career, when researching stuff like that at FAME last year. (source: Tony Rounce on Jan 25,2011))

Beef Ball Baby! - The New Orleans Recording sessions

"Stupendously rare or unissued New Orleans R&B and blues in incomparable sound quality.

Despite being based in Linden, New Jersey, DeLuxe recorded all across the USA in the company’s formative period in an attempt to score hits. DeLuxe was the first indie to tap into what was going on in the Crescent City in the years immediately following WWII. The label’s biggest find during that time was Roy Brown, the subject of two CDs in our “King & DeLuxe Acetates” series. In “Beef Ball Baby!” you can hear the surviving acetates of some of the other highly talented people DeLuxe recorded in New Orleans in the acetate era.

Long before Fats Domino took the city’s music to the masses, “Beef Ball Baby!” shows that the New Orleans R&B revolution was already under way. In this package we bring you Chubby “Hip Shakin’” Newsom and her husband-to-be Eddie Gorman, future hit-maker Jewel King and three all-time legends of New Orleans music: Cousin Joe, Smiling (Smiley) Lewis and Dave Bartholomew. In the case of Lewis and Bartholomew, the tracks mark their studio debuts as named artists. Their historical significance is just as significant as their musical value

For years a rumour circulated that the early DeLuxe acetate masters had perished in a warehouse fire. When Alec Palao and I painstakingly packed the surviving King acetates to be shipped to Ace, around a decade ago, we were delighted to find at least 80% of them were not only intact but, for the most part, in pristine condition. Just how clean most of them are can be judged from the sound of this CD – particularly in the four “Smiling” Lewis tracks, which sparkle with such clarity that listeners could almost have been in the room with him when he cut them at what was his first session. The quality of the shellac on which DeLuxe 78s were pressed being as poor as it was, we guarantee you will never have heard any of these tracks, eight of which are previously unissued, sound as good as they do here."

Tony Rounce for Ace

The Sensational Nightingales - On Peacock with Julius Cheeks: 1950s

A repost by request: 
The Sensational   Nightingales have been one of the top gospel quartets for more than 60 years.  There are many CDs and LPs available.  But you won’t find this one.  This collection assembles all of the Peacock 45s from their golden years from 1952-1959, during the time that Julius Cheeks and the Gales earned their reputation as the “Baddest Quartet on the Road.”    A handful of these tracks were reissued on MCA’s budget CD/LP entitled the Best of the Sensational Nightingales.   But here you have THE essential 75-minute Sensational Nightingales CD that was never released

The Sensational Nightingales were based in Philadelphia.  They recruited the legendary singer Julius “June” Cheeks from his hometown in Spartanburg, South Carolina in 1950.   By the time that the Peacock recordings began in 1952, the tenor Ernest James had joined the Nightingales from the Dixie Hummingbirds as second lead.    In many ways, Julius Cheeks was the archetypical hard gospel singer, and a huge influence on many other singers, including Wilson Pickett, David Ruffin, and Otis Clay.  Cheeks sang so hard that his voice gave out after a decade, forcing him into early retirement.    He worked himself and audiences into a complete frenzy.  The additional powerful tenor of Ernest James delivered a 1-2 punch that few other quartets could endure.   Nobody wanted to follow the Sensational Nightingales on the Program.     

After leaving the Nightingales in 1960, Cheeks continued to work and make records with the Four Knights, but began to experience the increasing vocal problems that ended his career.    Here you have the true recorded legacy of Julius Cheeks in his prime.  

The Sensational Nightingales is still one of the most powerful remaining quartets today. 

I've added 3 other collections to the original post. KC 

Pilgrim Jubilees - Chance, NBC & Specialty sides

This is part two of a series that will cover the history of this classic Gospel group - the series comes courtesy of Dr. Hepcat and was compiled by Mr. Bob Laughton and Mr. Alan Young. I'm not presenting them exactly chronologically, but in groups by label. Today we have their earliest recordings on Chance, NBC and Specialty.

Professor Longhair - Baton Rouge & Memphis 1971-72

In earlier posts, I am fairly certain we have covered all the material from Professor Longhair's first heyday back in 1948-53. So popular was he was back in that first era of record men from the north coming to New Orleans, that he was recorded by at least 5 different labels in those years, Jerry Wexler and Atlantic actually recorded him 3 different times, once in NY and twice here. Both Mercury and Atlantic soon ran into an obstacle with Fess, however, like many New Orleans artists he was unwilling to tour in support of records. He didn't like leaving New Orleans. Not long after his final Atlantic session, Byrd had a what is described as a mild stroke which shelved his career throughout the next wave of record producers like Imperial and Specialty who passed over Fess and his mentor Archibald in favor of their students and proteges like Fats Domino, Mac Rebennack, Art Neville and Allen Toussaint.

Fess had sufficiently recovered to resume his career by 1957 as evidenced by an excellent session for Barbara Rupe's Ebb records which yielded 6 songs but no career traction and Byrd still wouldn't travel far from home. He managed only sporadic singles for labels like Rip, Ron and Watch over the next 7 years (yielding only local hits) and then after 1964, nothing. The gigs had apparently dried up and while I've heard somewhere that he would occasionally host rent parties and Indian practices in his front parlor, he essentially drops out of sight.

By 1970 Fess was destitute, depressed, and chronically ill from a life of malnutrition. He was completely out of music; he reportedly swept the floor of a music distributor on Rampart hoping to pick up some 'royalties' on sales around Mardi Gras. He was weak and his legs shook so badly he couldn't stand for long. Chances are pretty good he would not have survived much longer. Fortunately help was on the way, first in the form of some blues freak Englishmen from Blues Unlimited who came looking for the author of those earlier great recordings. They claim to have found him in a flop house next to a jukejoint on Rampart Street, this was before either of his Uptown homes, but that sounds like a fabricated tale that made good print. Those guys did, however, help a pair of crazy Tulane kids locate Fess for their budding New Orleans Jazz Festival. Once they had found him Alison Minor and Quint Davis helped this frail, starving artist, turned to an old man well before his time (he was only 50!) by extreme poverty, to revive his career and, more importantly, his life. Alison describes Fess as having dropped more than ten years from his apparent age in a matter of months. He morphed into the incredibly hip and vital dude that I remember. With a new audience, a new purpose and a new home club in Tipitina's, his health rebounded and the final decade of that life was spent playing and recording both here and around the world to at least some portion of the sort of adulation he so justly deserved.

The two sessions represented here were the first made by Roy 'Professor Longhair' Byrd in nearly two decades. The Baton Rouge session in September 1971 was done at Deep South Recorders with Snooks Eaglin on guitar, Will Harvey on bass, and Fess' dear friend Shiba (Edwin Kimbrough) on drums. The session was a 17 (18?) track demo to shop him to labels for a new recording contract...no one bit at that point. Somehow Davis managed to get Fess to travel all the way to Memphis for a second attempt. The Memphis session of June 1972 also included Snooks, but this time bassist George Davis and Meters drummer Zigaboo Modeliste were on board for 15 more tracks. Meanwhile Albert Grossman's Bearsville Records in Woodstock, NY (Todd Rundgren's label) became interested in producing a Professor Longhair record but the result was a disastrous session with rock musicians who knew nothing of Fess' music. In the hurry to leave Davis would leave both masters (which had been sent ahead for the session musicians to learn from) behind with the understanding they would be sent back to New Orleans. Grossman never returned them and pulled the classic 'money owed us for the unsuccessful session' dodge in an attempt to steal the recordings. It would be two more years before the same brilliant Frenchman who brought us the first Wild Magnolias albums (Phillipe Rault of Barcaly Records) would produce Fess' first album, 'Rock 'N' Roll Gumbo' with Gatemouth Brown. (bizarrely enough the co-producer was George Winston)

When these two sessions finally came to light after Fess' and Grossman's deaths, Rounder seems to have been given first choice of tracks and Rhino released the rest. (House Party is the Rounder issue, Mardi Gras in Baton Rouge is the Rhino issue.)

The Staple Singers - Faith & Grace (A Family Journey 1953-1976)

We have a three part Sunday service today, I'm making up for my missing a few Sundays lately - all 3 parts are fantastic so be sure to check them all.

First up: An amazing contribution from Unky Cliff, on this Sunday morning Deacon Clifford. This amazing set covers the period listed on the cover in it's entirety - for many of you this will mean you can dispense with some of your bits and pieces. Included is even a 45 recreation of their very first recording on a tiny independent label.

"The Staple Singers were an American gospel, soul and R&B singing group. Roebuck "Pops" Staples (1914–2000), the patriarch of the family, formed the group with his children Cleotha (1934–2013), Pervis (b. 1935), and Mavis (b. 1939). Yvonne (b. 1936) replaced her brother when he was drafted into the U.S. Army, and again in 1970. They are best known for their 1970s hits "Respect Yourself", "I'll Take You There", "If You're Ready (Come Go with Me)", and "Let's Do It Again", which with one exception ("I'll Take You There") peaked on the Hot 100 within a week from Christmas Day.

While the family surname is "Staples", the group used the singular form for its name, "The Staple Singers".

Roebuck moved from Mississippi to Chicago after his marriage, and worked in steel mills and meat packing plants while his family of four children grew up. The family began appearing in Chicago-area churches in 1948. Their first public singing appearance was at the Mount Zion Church, Chicago, where Roebuck's brother, the Rev. Chester Staples, was pastor. They signed their first professional contract in 1952. During their early career they recorded in an acoustic gospel-folk style with various labels: United Records, Vee-Jay Records (their "Uncloudy Day" and "Will The Circle Be Unbroken" were best sellers), Checker Records, Riverside Records, and then Epic Records in 1965. "Uncloudy Day" was an early influence on Bob Dylan, who said of it in 2015, "It was the most mysterious thing I'd ever heard... I'd think about them even at my school desk...Mavis looked to be about the same age as me in her picture (on the cover of "Uncloudy Day")...Her singing just knocked me out...And Mavis was a great singer - deep and mysterious. And even at the young age, I felt that life itself was a mystery"

It was on Epic that the Staple Singers developed a style more accessible to mainstream audiences, with "Why (Am I Treated So Bad)" and "For What It's Worth" (Stephen Stills) in 1967. In 1968, the Staple Singers signed to Stax Records and released two albums with Steve Cropper — Soul Folk in Action and We'll Get Over, Pervis returning for these. After Steve Cropper left Stax, Al Bell produced their recordings, conducting the rhythm sessions at the famed Muscle Shoals Sound Studio and cutting the overdubs himself at Memphis' Ardent Studios, moving in a more funk and soul direction.

The first Stax hit was "Heavy Makes You Happy (Sha-Na-Boom-Boom)" in early 1971. Their late 1971 recording of "Respect Yourself", written by Luther Ingram and Mack Rice, peaked at No. 2 on the Billboard R&B chart and No. 12 on the Billboard Hot 100. Both sold over one million copies, and were each awarded a gold disc by the RIAA. The song's theme of self-empowerment had universal appeal, released in the period immediately following the intense American civil rights movement of the 1960s. In 1972 "I'll Take You There" topped both Billboard charts. In 1973 "If You're Ready (Come Go With Me)" reached No. 9 on the Hot 100 and No. 1 on the R&B chart.

After Stax's 1975 bankruptcy, the foursome signed to Curtis Mayfield's label, Curtom Records, and released "Let's Do It Again", produced by Mayfield; the song became their second No. 1 pop hit in the US and the album was also successful. In 1976 they collaborated with The Band for their film The Last Waltz, performing on the song "The Weight" (which The Staple Singers had previously covered on their first Stax album). However, they were not able to regain their momentum, releasing only occasional minor hits. Their 1984 album Turning Point featured their final Top 40 hit, a cover of Talking Heads' "Slippery People" (which also reached the Top 5 on the Dance chart). In 1994, they again performed the song "The Weight" with Country music artist Marty Stuart for MCA Nashville's Rhythm, Country and Blues compilation, somewhat re-establishing an audience. The song "Respect Yourself" was used by Spike Lee in the soundtrack to his movie Crooklyn, made in 1994.

In 1999, the group was inducted into the Rock and Roll Hall of Fame. Pops Staples died of complications from a concussion suffered in December 2000. In 2005, the group was awarded the Grammy Lifetime Achievement Award. Mavis Staples has continued to carry on the family tradition and continues to add her vocal talents to both the projects of other artists and her own solo ventures. Cleotha Staples died in Chicago on February 21, 2013, after suffering from Alzheimer's disease for over a decade." wiki

The Great 1955 Shrine Concert

This Sunday  we have a real Gospel show not just a simulation, and what a show it is.

The power and splendor that was gospel in the '50s radiates throughout the performances on The Great 1955 Shrine Concert. The Pilgrim Travelers, with twin powerhouse leads Kylo Turner and Keith Barber, get things started in fiery fashion, followed by the dynamic Caravans, whose roster at that time included Albertina Walker and Rev. James Cleveland, who doubled as a pianist. Also on the bill were Brother Joe May, justifying his "Thunderbolt of the Midwest" nickname; the Soul Stirrers, with Sam Cooke still in the fold; and the Original Gospel Harmonettes, concluding the proceedings with a flourish. Anyone who attended certainly felt the spirit, as will anyone who listens to this magnificent 14-song set.

ENJOY YOUR SUNDAY MORNING, REMEMBER TO TURN IT UP!

Brother Joe May will rock your world, he just about steals he show, at least until Sam comes on and really does. Ethel Davenport just sends shivers up my spine, I wish they had included more of her. Dorothy Love Coats sings with with a conviction that she can wring the devil out of you with the power of her voice, she probably could! 

Pilgrim Jubilees - The Nashboro Sides

This is part one of a series that will cover the history of this classic Gospel group - the series comes courtesy of Dr. Hepcat and was compiled by Mr. Bob Laughton and Mr. Alan Young. I'm not presenting them exactly chronologically, but in groups by label, first up is Nashboro. 

Artist Biography by Sandra Brennan

"Since the early '50s, the Pilgrim Jubilee Singers have used their hard, rockin' gospel music as a powerful means of testifying their faith, love, and charitable hope that humanity will find a way to bring itself closer to the kingdom of heaven. Over its long history, the group has undergone numerous personnel changes. The first incarnation originated in the 1940s on the Mississippi Delta by Elgie and Theopholis Graham, but the most famous version of the Pilgrim Jubilees began in Chicago, 1952, when younger Graham brothers Clay and Cleve resurrected the group. Since then, these two have remained the group's spiritual and musical core. While growing up in Mississippi, all four Graham brothers were trained to sing. It was Theopholis who left the first group to live in Chicago; the rest of his brothers followed in 1951, and all four briefly sang in the group. The Pilgrim Jubilees toured quite a bit (when not working their day jobs, which for the Graham brothers meant working in their separate barber shops), and this proved too much for the older brothers, who gradually dropped out. Shortly thereafter, Clay and Cleve invited baritone Major Roberson and lead singer Percy Clark (both from Mississippi) to join. They also took on guitarist Richard Crume and bassist Roosevelt English, and began recording; through the 1950s, they released sides and albums for assorted labels, including Peacock, Chance, and Nashboro. Soon after signing to Peacock in 1960, the band gained national exposure with their label debut, "Stretch Out." Its success allowed the Pilgrim Jubilees to finally go professional. Crume eventually left the group to join the Soul Stirrers, but the other three have remained together and carried on into the '90s."

Sunnyland Slim & Big Voice Odom At The Chicago Blues Festival with Jimmy Dawkins 1974

Probably the first thing you should know about this album is that the Chicago Blues Festival of 1974 did not actually take place in Chicago; it was, instead, the name of European tour of American bluesmen. This live concert comes from the Blues Reference series of the good folks at Black and Blue.

We have an interesting collection of Chicago musicians here that attracted me because it includes 7 more tracks from 'Big Voice' Odum as well as 13 from pianist Sunnyland Slim. Fine guitar work from Jimmy Dawkins provides fireworks throughout the show.

PERSONNEL:

SUNNYLAND SLIM vocal (8-18, 20, 21), piano (8-21)
BIG VOICE ODOM vocal (1-7)
JIMMY DAWKINS guitar
OTIS RUSH guitar (5)
JEROME VAN JONES organ (1-5)
WILLIE MABON harmonica (11, 14 & 20)
JAMES GREEN bass
BOB PLUNKETT drums

Recorded in Paris, France, November 26, 1974.