Here’s something that differs from the usual Be Bop Wino
fare. It’s not quite the usual cool R&B / Jazz / Rock ‘n’ Roll that I like
to think is the staple diet of this august blog. The album title, the front
cover art, the track list, it all looks right and yet it’s kind of “off kilter.”
There’s positively lurid use of stereo separation as the tenor saxes of Bill
Ramal and big band veteran Georgie Auld tear through 12 honking sax instros but
the feeling I get from listening to this set is that it consists of R&B by
the numbers, or ersatz R&B.
“Screamin’ Saxes” was released in 1962. The sleeve notes
assure us that the sounds contained therein are “… big and driving and new;
this sound of the 60s.” In fact it’s a compilation of cover versions of 1950s
R&B honking sax juke box hits, plus 3 original compositions by Bill Ramal: “Em-Bee”,
“Ichi-Ban” and “Sting Ray.”
The cover versions are – “Hand Clappin’” and “Blow Your
Horn” both originally by Red Prysock, “Hard Times” by Noble Watts, “Cloudburst”
by “Claude Cloud and his Thunderclaps" (really the Leroy Kirkland band with Sam “The
Man” Taylor on tenor sax), Lee Allen’s “Walkin’ With Mr. Lee”, Eddie Chamblee’s
“Back Street”, “Castle Rock” by Johnny Hodges (Al Sears on tenor sax),” Honky
Tonk” by Bill Doggett (Clifford Scott on tenor sax) and “Hot Rod” by Hal Singer.
There’s an interesting post on Bill Ramal at the Ill
Folks blog. He was a saxophone player and arranger who worked with Del Shannon
and Johnny And The Hurricanes. He also arranged and composed novelty records with
Dickie Goodman. The Ill Folks post has a sound sample from Ramal’s 1963 LP “Young
America Dances To TV’s Greatest Themes.”
'Tis that time of year again, when we try to hold back Time's inexorable advance by losing ourselves in Joan's classic comp from way back when - "A Doo Wop Christmas." Weepers and rockers with a festive theme, chiming bells, wailin' saxes, plaintive lyrics, crazy lyrics, lovelorn teenagers, lovelorn adults who have been around the block a few times, sentimentality and exploitation all mixed in a gumbo that can only be called rock and roll.
Unfortunately despite all our efforts there is no holding back Time, and we must mark the passing of another of the artists who made the 1940s and 1950s such a great musical era - Cozy Eggleston. His echo-drenched version of "Blue Light Boogie" retitled "Big Heavy" was one of the great R&B sax instrumentals of the early 1950s. The classic photo of Cozy and his wife indulging in saxophonic shenanigans has been a feature on the sidebar of this blog for quite a while now. Like "Big Heavy" it encapsulates the real spirit of rhythm and blues. Goodbye Cozy.
Here's a little playlist with a couple of Cozy's sides, and to bring us back to Christmas, a cool medley of seasonal tunes blasted out by Gene Ammons and Tom Archia. May you all continue to indulge in Be Bop, Doo Wop and Mop Mop. Keep swingin'!
Personnel: Russell Jacquet (trumpet); J.J. Johnson
(trombone); Sonny Stitt (alto sax); Leo Parker (baritone sax); Sir Charles
Thompson (piano); Al Lucas (bass); Shadow Wilson (drums)
Both sides were recorded at United Sound Studios,
Detroit, in May or June, 1948.
The recordings were made for the Sensation label
which was owned by Bernard Besman. The Billboard issue of June 19th
1948 carried an article on the purchase of 64 Sensation masters by King
Records. The purchase included sides by Todd Rhodes, “Lord Nelson”, Milt
Jackson and Russell Jacquet. “Suede Jacquet” / “Lion’s Roar” was released on
King 4242 at the end of July or beginning of August 1948. The same record was
also released on Sensation 8.
Russell Jacquet was the elder brother of tenor sax giant
Illinois Jacquet, in whose band he played trumpet and contributed vocals from
1945 until 1953. During this period he also recorded occasionally as a band
leader in his own right, beginning in Los Angeles in 1945 with a group which
included Calvin Boze in its line-up.
The session which produced “Suede Jacket” and Lion’s Roar”
wasn’t the first time Russell had recorded in Detroit. In 1947 he recorded with
Sonny Stitt and Sir Charles Thompson in a group led by Milt Jackson. In May /
June 1948 three sessions featuring various line-ups were held by Sensation in
Detroit. The first session was credited to “Lord Nelson and His Boppers”, in
reality a group led by Sonny Stitt and Milt Jackson. The second session was by The
Sonny Stitt Sextet which included Stitt, Milt Jackson, Russell Jacquet and Sir
The third session was credited to “Russell Jacquet and
His All-Stars.” This was actually the Illinois Jacquet band minus Illinois, but
with Sonny Stitt added. Two discs resulted from this session – “Suede Jacket” /
“Lion’s Roar” and “Scamparoo” / “Relaxin’ With Randel” (King 4259 and Sensation
“Suede Jacket” is a nice bop workout with solo space
given to Stitt, Johnson, Parker, Jacquet and, very briefly, Thompson. “Lion’s
Roar” is a rousing showcase for the big bad baritone sax of Leo Parker. This
session was a reunion for half of the Unholy Four sax section of the bop-leaning
Billy Eckstine big band, Sonny Stitt and Leo Parker both being former members,
along with Dexter Gordon and John Jackson.
Many thanks to El Enmascarado for putting the BeBop into
the Wino with this 78 disc!
Sources - Bruyninckx Discography. Sleevenotes by Joop Visser to 4CD set on Proper, "Sonny Stitt - Sax O' Bebop." The May / June 1948 Sensation sessions are included in the set.
Tops With Me” was recorded in Los Angeles on January 13th, 1950.
Probable personnel: Calvin Boze (vocal); Floyd Turnham (alto sax); Don
Wilkerson (tenor sax); Chuck Walker (baritone sax); Willard McDaniel (piano);
Ulysses Livingstone (guitar); Bill Cooper (bass); Walter Murden (drums)
And Slidin’” was recorded in Los Angeles on January 15th, 1951. Personnel:
Calvin Boze (trumpet and vocal) with possibly Marshall Royal (alto sax);
Maxwell Davis (tenor sax) plus unknown baritone sax, piano, guitar, bass and drums.
Possibly Scatman Crothers with vocal ensemble.
was released at the beginning of May 1951. It was reviewed in Billboard on May
5th. The verdict on “Baby You’re Tops with Me” was – “Shuffle boogie
novelty drives, with Boze doing a Louis Jordan on the lyrics, of which he sings
a couple of choruses.” The B-Side, “Slippin’ And Slidin’” was given a higher
rating and more positive review – “Boze projects an engaging set of novelty
lyrics infectiously, while combo puts down a swingy, medium shuffle. Could
sides are obviously heavily influenced by Louis Jordan. I find myself in
agreement with Billboard – “Slippin’ And Slidin’” is a funny (and gloriously
politically incorrect) account of the joys of dancing (?) with big boned women.
Somehow one night Calvin finds himself in
a shabby joint on the wrong side of town - “… A big fat chick walked up and
said ‘come on baby, and dance with me.’” Who could possibly resist such an
invitation? “That big fat chick knew all the tricks, she’s got me in a spin …”
In fact there’s nothing for it but to go back again the following night for another
close encounter with the energetic large dame.
Tops With Me” is another good jump blues but it doesn’t quite hit the spot the
way “Slippin’ And Slidin’” does. The two sides were recorded almost exactly a
year apart with different personnel, but they both feature fantastically tight arrangements
and playing. Despite this, the record didn’t chart. Dominating the Billboard
Rhythm And Blues chart in May 1951 were “Black Night” by Charles Brown, “Lost
Love” by Percy Mayfield, “Teardrops From My Eyes” by Ruth Brown and “Rockin’
Blues” by Johnny Otis, featuring Mel Walker. For much
more on Calvin Boze, please read the post “Choo Choo’s Bringing My Baby Home.”
A big thank
you to El Enmascarado for providing the rips and scans from a 60 year old 78
rpm shellac disc. Once again the sound quality is remarkably clear and a
testament to the work put in on these artefacts from the great years of
“Walkin’ The Chalk Line” was recorded in Cincinnati on February 8th, 1950. Personnel : Tiny Bradshaw (lead vocal); Jimmy Robinson piano); Clarence Mack (bass); Calvin Shields (drums). Also present at the session, but sitting this track out, were Leslie Ayres (trumpet); Orrington Hall (alto and baritone sax); Rufus Gore (tenor sax) and Leroy Harris (guitar).
“Bradshaw Boogie” was recorded in New York on January 16th, 1951. Personnel: Tiny Bradshaw (vocal); Leslie Ayres (trumpet); Andrew Penn (trombone); Orrington Hall (alto and baritone sax); Red Prysock (tenor sax); Jimmy Robinson (organ); Willie Gaddy (guitar); Eddie Smith (bass); Calvin Shields (drums).
King 4457 was released in mid-June 1951. The disc was reviewed in Billboard on June 30th. Of “Walkin’ The Chalk Line” Billboard said – “Bradshaw and male trio, backed by rhythm section only here, register with a hard-hitting little jingle with a recurring refrain.” And on “Bradshaw Boogie” the comment was: “Tiny and the boys come thru with one of their typical hard driving boogie blues novelties.” “Walkin’ The Chalk Line” wasn’t a big seller despite being featured in the King / Federal / DeLuxe adverts in Billboard during July and August alongside Lucky Millinder’s “I’m Waiting Just For You,” “Sleep” by Earl Bostic, “Bloodshot Eyes” by Wynonie Harris, “Sixty Minute Man” and “Do Something For Me” by The Dominoes and Roy Brown’s “Wrong Woman Blues.” Enough platters were sold to make King 4457 the 90th best-selling R&B record of 1951. The really big hits around the middle of the year included the aforementioned “I’m Waiting Just For You,” “Sixty Minute Man” and “Do Something For Me” plus “Don’t You Know I Love You” by The Clovers, “Chains Of Love” by Big Joe Turner, “Rocket 88” by Jackie Brenston and “Too Young” by Nat King Cole.
The “Bradshaw Boogie” session marked Red Prysock’s recording debut with the band and his fiery, rabble rousing tenor sax solo really brings what could have been a formulaic side to life.
As always we have El Enmascarado to thank for yet another slice of R&B history from his growing stash of 78 rpm discs. The sound quality on these two rips is remarkable, considering that they originate from shellac that is over sixty years old. I’ve been listening to these sides on my new laptop (a necessary buy after my 11 year old Pentium 4 PC took its final, fatal crash) which I’ve hooked up to my hifi and they pack quite a wallop. Thank you, o masked one!
Billboard reviewed the disc in its Race Records section on May 8th, 1948. "Odd-En-Dow" was a "light bop riffer, with string of fair solo rides" while "Dues In Blues" received the slightly off hand comment: "instrumental with more bop touches."
Gene Ammons was the son of renowned boogie woogie piano man Albert Ammons. He played tenor sax in his school band, and got his first professional gig with the King Kolax band. His subsequent spell with Billy Eckstine's bop-leaning big band shot him to fame, most memorably on the searing tenor sax battle with Dexter Gordon, "Blowing The Blues Away." In 1947 he left the Eckstine outfit to start a solo recording career on Mercury. He had a hit with "Red Top" (Mercury 8048) and recorded a series of fiery bop sides for the label in 1947 and 1949 before signing for Chess for whom he had another big chart hit in 1950 with "My Foolish Heart." He had brief spells with Woody Herman and Count Basie before forming the legendary Gene Ammons - Sonny Stitt combo. But that may be another story for another post.
With many thanks to El Enmascarado for ripping these sides from an original 78 rpm disc and for the label scans.
We proudly present the second round up of El Enmascarado’s rips from original R&B
78 rpm discs. The mood is more relaxed and cooler than on the somewhat more
heated Volume One of the series, with the exception of the opening blaster,
“Headhunter” by Johnny Otis. There’s plenty swingin’ and jivin’ for you cool
cats which you can download from here:
With many, many thanks to El Enmascarado for his work in
rescuing these original ten inchers, many of which are in very poor condition.
Volume Three is already shaping up, with a few of its tracks already posted and
more in the pipeline. Stay cool, you swing, jump and jive fans!
Number four in Joan’s new series, and perhaps the best yet?
Over to Joan –
In this volume there’s something for everyone. The Cufflinks
from South Central Los Angeles, of "Guided Missile" fame show that
they have mastery of the slow ballad as well. The extremely scarce and
collectible "Never" by the Dundees, has namesake Carlyle Dundee on
lead. Very few of these have ever surfaced, and most collectors have never even
seen it over the last 30 years.
"Tree in the Meadow" is a dreamy early 1950's ballad from the Derby
record company. The Serenaders’ rendition
of Lonnie Johnson's "Tomorrow Night" is a most credible
send-up, incidentally is also extremely scarce on Detroit's
The Five Scalders, also from Detroit
are represented here on Volume Four with Girl Friend on Detroit's
Drummond marque. The Tornadoes on Chicago's
legendary Chess label, are one of just a few doo wop groups on Chess (other
than the Moonglows and Flamingoes), with their "Four O'Clock In The
Johnny Bragg takes the lead on the Marigolds up tempo
"Juke Box Rock 'N' Roll". Bragg had his singing roots in the
legendary Sun records Prisonaires vocal group, where he was lead harmony. Also
in Volume 4 an interesting acapella issue with "I'm In Love" by the
Velvet Angels, who by all accounts were the reformed Diablos several years
after the original Nolan Strong and the Diablos disbanded. Rumor has it that
Nolan Strong was in the harmony on this one, but not as lead vocalist.
Boogiewoody takes you through Joan’s platters that matter
and tells you why this is one hell of a comp:
“Come On Little Baby” by The Kings is a breathless rush of
1950s adrenalin complete with searing sax that lasts about ten seconds then
we’re straight into the kind of vocal group track that Joan knows I love – a
1950s reworking of a sophisticated ballad – “Every Night About this Time” which
is an old Ink Spots number, here given the dreamy treatment by The Sophomores.
And we’re gonna stay in dreamland for the next few tracks, so close your eyes
and relax baby ‘cos here come The Cufflinks on Dootsie Williams’ Dooto label
with a slab of pure 1950s longing – “It’s Too Late Now.” Yeah, she wants you
back but you’ve found somebody else so you can tell her you’re through – or are
The slow numbers continue with “Never” which may be the
ultimate “we’re through” song in which a terrific lead vocal by Carlyle Dundee
soars triumphantly over an out of tune piano. We’re stayin’ sentimental with
“Tree In The Meadow” by The Carnations which comes with an Ink Spots style
guitar intro and there’s no “so long and get lost baby” sentiments here – just
a plain and simple “I’ll Love You Forever.”
And now for an over the top vocal group version of “Tomorrow
Night” a song which was a huge hit for Lonnie Johnson in 1948 and that was kind
of unlikely ‘cos Lonnie was an innovative blues guitarist and vocalist and
“Tomorrow Night” was a piece of Tin Pan Alley pop written in 1939. And I simply
don’t know what to make of this out to lunch version by The Serenaders,
whomsoever they might have been … I think I like it. Judge for yourselves.
Things sure liven up with an obviously worn to a frazzle
disc of “Until You” by The Delmonicos, who kind of remind me of Dion and the
Belmonts. Go for it, guys! And then …
OMG as they say – “Four
O’clock In the Morning” by The Tornadoes which featured in an earlier Be Bop Wino
post of Chess doo wop sides. A post which staggered drunkenly from weepy disc
to weepy disc as your lovelorn blog host sought solace in a bottle of 12 year
old Scotch while lying on the floor by the turntable … and here we are once
more, with yours truly having gone through the complete loved and lost cycle
again since that last post and now Joan comes up with this one! I ain’t gonna
make it to the end of this comp I tells ya …
Phew, things speed up a bit now with “Girl Friend” which is
a basic piece of teen pop with a great sax player on there in among the generic
infantile lyrics. Second half coming up …
More sentimental teen type stuff from The Haven Knights but
these guys have class. And now here’s some pure vocal joy – a brilliant
acapella performance from The Velvet Angels with “I’m In Love.” There’s a definite heavy gospel influence on
this one. And here’s where the art of the compilation kicks in as Joan keeps it
unaccompanied with The Roomates showing off their chops on “Here I Am Broken
Hearted.” The lyrics might seem trite but what a performance!
And now for a full yackety sax driven R&B performance of
“Nellie” by The Invictas which shifts the mood nicely and we stay up tempo with
the Tantones and their slightly weird falsetto lead vocal on another R&B
stomper – “I Love You Really I Do.” This is deep doo wop and I love it!
Right, it’s time for a one hundred per cent stone classic
piece of rockin’ rhythm and blues. Yes,
it’s The Marigolds led by the incomparable Johnny Bragg on a genuine blaster
“Juke Box Rock ‘n’ Roll.” There are no words to describe the sheer genius of
Gettin’ near the end and the scene shifts to a public toilet
where we find The Rogues plus rhythm and sax squeezed into a cubicle with a
microphone as they frantically belt out “I’ve Been Dreaming.” All good things
must indeed come to an end so how does Joan bring this work of art to a close?
Well, there’s a big, big sentimental ending with “Crying My Heart Out” by the
solid gone The Masters. Can’t top that? Oh yes you can, if you’re as deeply
into this kind of music as Joan is. “Blue Island”
by The Rannels evokes a whole lost era of rock ‘n’ roll and r&b in a couple
of minutes of sheer artistry. And that’s it folks. A long lost decade summed up
in eighteen obscure and semi obscure records. That’s what I call a compilation!
Both sides were recorded in Cincinnati
on July 29th, 1953.
Personnel: Bill Hardman (tp); Andrew Penn (tb); Sil Austin, Rufus Gore (ts);
Jimmy Robinson (p); Sam Jones (b); Philip Paul (d)
The record was released in October, 1953. Sil Austin made
his recording debut for the Bradshaw band at this session, having replaced Red Prysock who left earlier in the year to start a successful solo career. Thanks
are due to El Enmascarado for unearthing this 78 rpm disc.
El Enmascarado comments: “South Of The Orient/Later by Tiny
Bradshaw is on a white label promo/DJ copy. Although it looked pristine and
pretty much unplayed, it had more surface grit than I expected. That might
possibly have something to do with the disc seeming to be made out of vinyl
rather than shellac.
South Of The Orient is kind of Afro/Exotica with a mambo
beat. It's mostly piano bass and drums, although the horns play quietly in a
Later is a more straight ahead jump number. The drummer
plays brushes rather than sticks, which tend to give it a lighter feel.”
This disc was released after Tiny Bradshaw had enjoyed two
substantial instrumental R&B chart hits in 1953 – “Soft” and “Heavy Juice.”
Unfortunately “South Of The Orient” failed to live up to the success of the two
preceding Bradshaw releases. It may be that “South Of The Orient” was a little
too exotic and “jazzy” for the R&B crowd.
Billboard Magazine reviewed “South Of The Orient” thus:
“This Oriental flavoured effort bears a close kinship to some of the work being
turned out by the bopsters today, but the pulsating tempo and the bright drum
work make it a listenable hunk of wax. Good for jazz jocks.”
As for “Later” Billboard commented: “The Tiny Bradshaw ork
has a happy time with this riff instrumental that is more jazz than r&b. It
swings and it should please a lot of the cats.”
Here’s your chance to hear the two numbers that made it big
for Tiny Bradshaw in 1953. “Soft” was released in late 1952 and peaked at
number 3 in the R&B charts, spending most of spring 1953 on the best
selling list. “Heavy Juice” was a smaller hit, reaching number 9 in August
This LP was originally uploaded to Be Bop Wino about 5 years
ago. Ye gods, we’ve passed our 5th anniversary – 5 years of online rhythm ’n’
bluesin’ – doesn’t time fly? Back then I hadn’t worked out how to scan complete
LP covers, so the accompanying scans were pretty poor. The previous post of El
Enmascarado’s Big John Greer disc on Sittin’ In With gives me a good excuse to re-up
this collection with all new Be Bop Wino standard cover scans and present them
for your pleasure. Plus I can also include a little more info on Mr Greer. It’s
still the same sound files though …
Tenor sax man and vocalist John Greer arrived in New
York to join the Lucky Millinder Orchestra in 1948,
on the recommendation of his former school bandmate Henry Glover. As we saw in the previous post he recorded four sides for Bobby Shad’s Sittin’ In With label
before his first session on RCA Victor with Millinder which came in January
1949. Possessor of a pleasant singing voice, able to handle sweet ballads and
more raucous jump material as well as being more than handy on the tenor sax,
he was a natural replacement for Bull Moose Jackson, who had left the Millinder
outfit to embark on a very successful solo career.
Greer’s career path closely followed that of Jackson
– recording simultaneously with the Millinder band and with his own Rhythm
Rockers. When Millinder left RCA in 1950, Greer continued to record for the
label and its Groove R&B subsidiary until 1955. Many of his releases were
ballads but they failed to bring the success that Bull Moose enjoyed with
similar material in the late 1940s and early 50s. In the meantime, Greer
continued to record with the Millinder band through 1950 after they had moved
to King, most noticeably at a May 1950 session where he was the featured vocalist on several sides including "Let It Roll Again."
Also on King, Greer recorded with Wynonie Harris (“Oh Babe!”
“Teardrops From My Eyes” and “Bloodshot Eyes”), Bull Moose Jackson
(“Nosey Joe” and “Bearcat Blues”), and Annisteen Allen. His only substantial
hit on RCA was “Got You On My Mind” which reached number two on the Billboard
R&B chart in the spring of 1952. His contract with RCA / Groove was not
renewed in 1955, and he had two sessions for King in 1956 before his recording
career was brought to a premature end by what are euphemistically called
“lifestyle issues” aka booze.
“R&B In New York City”
was released in 1988. As well as the big hit “Got You On My Mind,” there are a
few good rockers such as the raunchy “You Played On My Piano” (with Dolores
Brown), “I’m The Fat Man” and “Come Back Maybelline” – a fine answer record to
Chuck Berry’s “Maybelline.” Ballads predominate on this collection, but they aren’t
too sickly sweet and in fact make for pleasantly relaxed listening.
Recommended purchase – “I’m The Fat Man” (Rev-ola CR Band
This thirty track collection compiled by Dave Penny
concentrates on the swinging, jumping and rocking side of Big John Greer’s
music. It includes four tracks recorded with The Du Droppers and comes with
very informative notes. An excellent purchase for rockin’ R&B fans.
Both sides recorded in New York City
in the second half of 1948. Exact recording date, personnel and date of release
This one-off session for Bobby Shad’s Sittin’ In With label
marked the recording debut of Big John Greer. Two singles resulted from the
session – “Rockin’ With Big John” / “Wine-ola” (Sittin’ In With 510) plus the
featured platter on this post which we can all enjoy thanks to El Enmascarado’s
work in ripping these sides from the original 78 rpm shellac disc.
The Sittin’ In With date was something of a moonlight
session for tenor sax player and vocalist Big John Greer who had arrived in New
York City to join Lucky Millinder’s Orchestra as a replacement
for Bull Moose Jackson who had embarked on a solo career. The Millinder outfit
was under contract to RCA Victor and Greer’s first recording session with the
band took place in January 1949. He sang on “Little Girl Don’t Cry” which was a
number fifteen R&B hit, although it was heavily outsold by the Bull Moose Jackson version which reached number two in the charts.
Greer’s career followed a parallel path to that of his
fellow saxophonist / vocalist Bull Moose Jackson when he started recording as
leader of a small group called The Rhythm Rockers, which consisted of Millinder
band members, in April 1949 for RCA Victor. When the Millinder band moved to
King in 1950, Greer continued to record for Victor and subsequently its R&B
subsidiary Groove until the mid 1950s. He recorded as a sideman for King, being
on the Lucky Millinder / Wynonie Harris session which produced a storming
version of Louis Prima’s “Oh Babe!” He was also on Bull Moose Jackson’s epic double
entendre rocker “Nosey Joe” and recorded several sessions with fellow former
Millinder vocalist Annisteen Allen.
We’ll be taking a look at Big John Greer’s output for Victor
and Groove in an upcoming updated post of the “R&B In New York City” LP.
Thanks again to El Enmascarado for these rips which are in
remarkably good sound quality.
If you dug the recent Little Walter post then you’re sure to
love this collection of stompers and wailers by a selection of both well known
and obscure blues harp men.
This Dutch LP is probably a bootleg, date unknown. I bought
it in “Southside Records” a shop about which I blogged a couple of years back.
Sadly the shop is no more, having closed down last winter.
There are good sleevenotes on the back cover and I have
added more notes at the end of this post. Download, wail and stomp, blues
lovers. And if anyone has the lowdown on the identity of "Ole Sonny Boy" please share this valuable knowledge with the rest of us!
11 Polly Put Your Kettle On - Sonny Boy Williamson
12 Wine-O-Wine - Jerry McCain
13 You Better Change - Ole Sonny Boy
14 Blues In The Dark - George Smith
15 Dangerous Woman - Sonny Terry
16 Mailman, Mailman - Sonny Boy Williamson
More info on the tracks:
George Smith – “Telephone Blues” and “Blues In The Dark”
recorded in Kansas City in late
1954 / early 1955. Original release – RPM
434. “Love Life” recorded in Culver City, California
in early 1956. Backing provided by the Maxwell Davis Orchestra:
Jake Porter (tp) Jack McVea (as) Maxwell Davis (ts) Maurice
Simon (bar) Austin McCoy (p) Chuck Norris (g) Red Callender (b) Lee Young (d).
Original release – RPM 456.
Sonny Terry – “Dangerous Woman” recorded in Philadelphia
in early 1952. Original release on Gramercy G1005 and Josie 828.
Sonny & Jaycee = Sonny Terry and J.C Burris. “Keep On
Doggin’ Me” recorded in New York
in 1958, first released on Ember 1034.
Jerry McCain – “East of the Sun” and “Wine-O-Wine” were
recorded in Jackson, Mississippi, on October 10th, 1953.
Personnel: Jerry "Boogie" McCain (vcl,hca,tamb) acc by Bernard
Williams (ts) Dave Campbell (p) Chris Collins (g) Herman Fowlkes (b) Walter
McCain (d). Both sides originally released on Trumpet 217.
Long Gone Miles = Luke Miles. “Hello Josephine” and “Little
Sweet Thing” were recorded in Los Angeles
in 1968/9. “Long Gone” Miles on vocal, George Smith on harmonica. First release
Papa Lightfoot – “P.L. Blues” recorded in New
Orleans on November
19th, 1952. Personnel: Papa Lightfoot (hca); Tommy Ridgley (p); Edgar
Blanchard (g); John 'Silver' Cooks (dr). Original release on Aladdin 3171.
Cousin Leroy = Leroy Rozier. “I’m Lonesome” recorded in New
York in August 1957. Originally released on Ember
E-1023. Personnel: Cousin Leroy (vcl,g) acc. by Sonny Terry (hca) Champion Jack
Dupree (p) Larry Dale (b) Gene Brooks (d).
Ole Sonny Boy = Man of Mystery. Thought by some to be Papa
Lightfoot, by others to be J.D. Horton. “Blues and Misery” and “You Better
Change” were recorded in Nashville
in 1956 and released on Excello 2086.
Morris Bailey – perhaps recorded in Nashville
circa 1962. Released on Bailey 500.
Sonny Boy Williamson – “Polly Put Your Kettle On.” John Lee
Williamson, usually referred to as Sonny Boy Williamson I, to avoid confusion
with Rice Miller, the second “Sonny Boy Williamson” who recorded for Trumpet
and then Chess in the 1950s and 60s. John Lee Williamson recorded for Bluebird and
Victor from 1937 until 1947. He was murdered in June 1948. “Polly Put Your
Kettle On” was recorded in Chicago
on March 28th, 1947.
Personnel: Sonny Boy Williamson (vcl,hca) acc by Blind John Davis (p) Big Bill
Broonzy (g) Willie Dixon (b) Charles "Chick" Sanders (d). Original
release on Victor, Vic 20-2521.
Sonny Boy Williamson – “Mailman, Mailman.” Real name Jeff Williamson. Originally from New
Orleans, he recorded “Mailman, Mailman” in Shreveport
for Ram, accompanied by guitarist James Moore. The record was released on Ram
2501 in late 1961.
1981 Italian reissue of an LP originally released as Chess
LP 410 in 1970.
J.B. Lenoir – guitarist, possessor of a distinctive high
pitched voice and wearer of a stylish zebra striped tailcoat. He recorded for Chicago
labels JOB, Parrot, Chance and Checker, his
biggest hit being “Mama Talk To Your Daughter” on Parrot 809 in 1955.
I picked up this LP second hand in the vinyl basement of
Missing Records, under The Hielanman’s Umbrella. If you’re not from Glasgow
you won’t have a clue what that is. This collection has been on my WMP playlist
for a while now. I wasn’t overly impressed at first, but it’s grown on me. It
is most definitely worth your while downloading this, oh fellow blues fans.
Ripped from vinyl at 320 kbps. Password = greaseyspoon
Some of the recording dates listed below differ from the
information on the back cover of the LP. I have added original release details
for each track. Additional information is from the Red Saunders Foundation
website and the Bruyninckx Discography.
All tracks recorded in Chicago:
Natural Man – 14th
September, 1955, Chess LP410
Don't Dog Your Woman -
14th September, 1955, Chess LP410
Let Me Die With The One I Love -14th September, 1955, Checker 844
Carrie Lee – December 1950, Chess 1463
Mama, What About Your Daughter - 19th December 1956, Checker 874
If I Give My Love To You - 14th September, 1955, Checker 844
Five Years – 19th
December 1956, Checker 874
Don't Touch My Head -
19th December 1956, Checker 856
I've Been Down So Long - 19th December 1956, Checker 856
What Have I Done – 4th
March 1955, Parrot 814
Eisenhower Blues – March 1954, Parrot 802
Blues – December 1950, Chess 1449
Everybody Wants To Know – 14th September 1955, Chess LP410
I'm In Korea – March 1954, Parrot 802
“Carrie Lee” and “Korea Blues” were purchased by Chess from JOB.
We kick off a short "blues LP" season on Be Bop Wino with this 1982 Italian release of "Confessin' The Blues" by Little Walter. At the moment I don't really have time to write up extensive notes, so you'll just have to take these posts as they are and dig around the web for further information!
This is a good compilation with only one or two tracks which could be classified as "filler." The rest is killer.
Tracks recorded 1953 - 1963. Musicians include: Little Walter Jacobs (vocal, harmonica); Louis Myers, Dave Myers, Robert Lockwood, Luther Tucker, Freddie Robinson, Muddy Waters and Buddy Guy (guitar); Otis Spann, Lafayette Leake (piano); Willie Dixon (bass); Fred Below, George Hunter (drums)
Here ‘tis – another collection of vintage R&B courtesy
of Joan K. Volume 3 of Joan Spins Again is a whirlwind tour of a decade of vocal
group stylings, ranging from sophisticated early 1950s jazzy records rooted
in the sound of The Ravens, to the younger group sounds of the later 50s which
were such an important part of the rise of rock and roll. This is a great compilation
which I’ve been sitting on for a couple of months, enjoying on the privacy of
my own PC. But here it is at last, available for the delectation of R&B
fans the wide world over.
I’ve selected some of my personal favourites and put them on
the streaming audio widget below, but every track on the collection is a gem.
The King Odom Four, The Masterkeys and The Four Buddies are the smoothies here
– suave, sophisticated, knowing (and occasionally leering) – their sound really
appeals to me. For the younger followers of Be Bop Wino a word of caution: I
suspect you have to be at least fifty years old in order to fully appreciate
the subtleties of these records. What kind of a kick can rockers possibly get
out of an early 1950s reworking of an old standard like “All of Me” by a seemingly “square” group like The
King Odom Four? Just give it a listen and let the sheer hepness of the record
take hold of you. The same group also did a cover of “Lover Come Back to Me”
which was equally good.
At the opposite end of the rockin’ spectrum we have The
Concords, or rather Pearl Reaves and The Concords with “You Can’t Stay Here,”
an irresistible pounding treatment of the old blues standard “Step It Up and
Go.” This record has featured on several rockin’ R&B comps across the
years, perhaps most notably on number 20 of the inestimable “Stompin’” series
where it shares disc space with the likes of Riff Ruffin’s “Money For My Honey”
and Pigmeat Markham’s “Let’s Have Some Heat.” If you don’t have “Stompin’ 20”
then I’m sorry, you just ain’t where it’s at!
Listen to some highlights from Joan Spins Again Volume 3
If you own the copyright of any music posted here and wish to have it removed from the blog, please contact me at the above email address and it will be removed forthwith.
Dedicated to REAL R&B, Rock'n'Roll, Blues and Jazz
This is a site dedicated to rockin' 1940s and 1950s music, ripped from vinyl. Some cuts are a bit on the rough side. If you're looking for audio perfection you're on the wrong site baby! If you like what you hear on this site please buy this kind of music. There are many reasonably priced reissues available from web dealers or perhaps from your local record shop, if it still exists. These reissues will be in far better sound quality than the vinyl rips on this site and they will usually have more up to date liner notes and info, so go out and splash a little cash now and again. Help keep those reissue labels going in these difficult times.
No in-print CDs will be posted here. In fact no CDs will be posted here. I will occasionally list recommended purchases to help you hear more from artists featured on the blog.
"The night is the corridor of history, not the history of famous people or great events, but that of the marginal, the ignored, the supressed, the unacknowledged; the history of vice, of error, of confusion, of fear, of want; the history of intoxication, of vainglory, of delusion, of dissipation, of delirium." Luc Sante - Low Life