Ray Charles - Tell The Truth

Side 1:
01. Mess Around
02. It Should've Been Me
03. Losing Hand
04. Greenbacks
05. I've Got A Woman
06. This Little Girl Of Mine
07. Hallelujah I Love Her So
08. Drown In My Own Tears

Side 2:
01. Leave My Woman Alone
02. Lonely Avenue
03. That's Enough
04. Talkin' 'Bout You
05. You Be My Baby
06. The Right Time
07. Tell The Truth
08. What'd I Say

Download from here:

http://www75.zippyshare.com/v/URjMMoKG/file.html

One scratched LP bought second hand many years ago, probably from the sadly-no-more "Lost In Music" emporium in Glasgow's West End. I never listened to it all that much but lately I've been listening to little else. Digitizing this album has got me right back into the music of Ray Charles, specifically the sides he recorded for Atlantic between 1952 and 1959, sides which revolutionized the sound of R&B and paved  the way for soul music.

Ray's earliest sides, recorded for Swing Time and Down Beat, were heavily influenced by Nat "King" Cole and Charles Brown. The move to Atlantic gave him the opportunity to really come into his own. At first, recording under the supervision of Jesse Stone and accompanied by top NYC session men such as Freddie Mitchell, Lloyd Trotman and Mickey Baker, his sides were still well within the R&B mainstream of the time, albeit with a much improved sound.

Ray had ideas of his own ( he detested the Willie Mabon influenced "It Should've Been Me") and in Atlanta, Georgia, in November 1954, he unveiled a new sound to Atlantic honchos Ahmet Ertegun and Jerry Wexler when he and his new hard boppin' band played the gospel influenced "I Got A Woman." The shadow of gospel music loomed over most of the R&B that Ray subsequently recorded for Atlantic, whether the source material was original gospel songs, or blues or just songs that sounded as though they were rooted in the church.

All of it was performed with sanctified intensity in a fusion of holy roller vocals from Ray, passionate call and response backing vocals from The Cookies and of course that band featuring horn men like Don Wilkerson and Dave "Fathead" Newman. The selection of tracks on this LP is an excellent illustration of how R&B music was taken in a new direction by Ray Charles and his musicians. The detailed sleeve notes by Cliff White are well worth perusing.

The story behind the tracks, mac!

"Mess Around," "It Should've Been Me," and "Losing Hand" were recorded in New York City on May 17th, 1953.

Personnel: Ray Charles (vocal, piano) with: Pinky Williams and Freddie Mitchell (tenor saxes); Dave McRae (baritone sax); Mickey Baker (guitar); Lloyd Trotman (bass); Connie Kay (drums);

Mess Around / Funny (But I Still Love You), Atlantic 999, June 1953

It Should've Been Me / Sinner's Prayer, Atlantic 1021, February 1954

Losing Hand / Don't You Know, Atlantic 1037, July 1954

"Greenbacks" and "I've Got A Woman" were recorded in Atlanta on November 18th, 1954.

Personnel: Ray Charles (vocal, piano) with: Joe Bridgewater and Charles Whitley (trumpets); Don Wilkerson (tenor sax); Dave Newman (baritone sax); Wesley Jackson (guitar); Jimmy Bell (bass); Glenn Brooks (drums)

I've Got A Woman / Come Back, Atlantic 1050, December 1954

Blackjack / Greenbacks, Atlantic 1076, October 1955

"This Little Girl Of Mine" was recorded in Miami on April 23rd, 1955.

Personnel: Ray Charles (vocal, piano) with: Joe Bridgewater and Riley Webb (trumpets); Dave Newman (alto sax, baritone sax); Don Wilkerson (tenor sax); Roosevelt Sheffield (bass); William Peeples (drums)

A Fool For You / This Little Girl Of Mine, Atlantic 1063, June 1955

"Hallelujah I Love Her So" and "Drown In My Own Tears" were recorded in New York City on November 30th, 1955.

Personnel: Ray Charles (vocal, piano) with Joe Bridgewater and Joshua Willis (trumpets); Don Wilkerson (tenor sax); Cecil Payne (baritone sax); Paul West (bass); Panama Francis (drums) with The Cookies (vocal group) on "Drown In My Own Tears"

Drown In My Own Tears / Mary Ann, Atlantic 1085, February 1956

Hallelujah I Love Her So / What Would I Do Without You, Atlantic 1096, May 1956

"Leave My Woman Alone" and "Lonely Avenue" were recorded in New York City on May 16th, 1956.

Personnel: Ray Charles (vocal, piano) with Joe Bridgewater and John Hunt (trumpets); Dave Newman (alto sax and tenor sax); Emmett Dennis (baritone sax;) Roosevelt Sheffield (bass); William Peeples (drums); The Cookies (vocal group)

Lonely Avenue / Leave My Woman Alone, Atlantic 1108, September 1956

"That's Enough" and "Talkin' 'Bout You" were recorded in New York City on May 26th and May 28th 1957 respectively.

Personnel: Ray Charles (vocal, piano) with: Joe Bridgewater and Ricky Harper (trumpets); Dave Newman (alto sax and tenor sax); Emmett Dennis (baritone sax); Edgar Willis (b) William Peeples (d) with The Raelettes  aka The Raylettes aka The Cookies (vocal group)

That's Enough / Tell Me How Do You Feel, Atlantic 2022, March 1959

Talkin' 'Bout You / What Kind Of  Man Are You, Atlantic 1172, January 1958

"You Be My Baby" was recorded in New York City on February 20th, 1958.

Personnel: Ray Charles (vocal, piano) with: Marcus Belgrave and Lee Harper (trumpets) Dave Newman (alto sax and tenor sax); Emmett Dennis (baritone sax); Edgar Willis (bass); Richie Goldberg (drums) with The Raelets (The Cookies) (vocal group)

My Bonnie / You Be My Baby, Atlantic 1196, August 1958

"(Night Time Is) The Right Time" was recorded in New York City on October 28th, 1958.

Personnel: Ray Charles (vocal, piano) with: Marcus Belgrave and Lee Harper (trumpets); Dave Newman (alto sax and tenor sax); Hank "Bennie" Crawford (baritone sax); Edgar Willis (bass); Richie Goldberg (drums); The Raylettes (vocal group) feat. Marjorie Hendricks (vocal)

(Night Time Is) The Right Time / Tell All The World About You, Atlantic 2010, December 1958

"Tell The Truth" was recorded live in Atlanta on May 28th, 1959.

Personnel: Ray Charles (vocal, piano) with: Marcus Belgrave and John Hunt (trumpets); Dave Newman (alto sax and tenor sax); Hank Crawford (baritone sax); Edgar Willis (bass); Teagle Fleming (drums); The Raelettes (vocal group)

"Tell The Truth" released on Atlantic LP 8039 "Ray Charles In Person" in May 1960. Also on single Atlantic 2068 Tell The Truth / Sweet Sixteen Bars, July 1960.

"What'd I Say" was recorded in New York City on February 18th, 1959.

Personnel: Ray Charles (vocal, piano) with: Marcus Belgrave and John Hunt (trumpets); Dave Newman (alto sax, tenor sax); Bennie "Hank" Crawford (baritone sax); Edgar Willis (bass); Milt Turner (drums); The Raelettes (vocal group)

What'd I Say (part 1) / What'd I Say (part 2), Atlantic 2031, June 1959.

Some recommended CDs:

I bought all of the above for £5 each in Fopp over the last few years. Ray's Atlantic output should still be easy to find at budget prices.

Recommended read:

Ray Charles: Man and Music by Michael Lydon. This is the cover from the original 1998 hardback edition (yep, bought in Fopp for £5!). An updated paperback edition from 2004 is available from the marketplace dealers of a certain mega gigantic online shopping website. Yeah, Amazon.

Amos Milburn - Chicken Shack Boogie (re-up)

Side A:
01. My Baby's Boogying
02. Amos Boogie
03. Bye Bye Boogie
04. It Took A Long Long Time
05. Chicken Shack Boogie
06. Pot Luck Boogie
07. Jitterbug Fashion Parade

Side B:
01. Roomin' House Boogie
02. Johnson Rag
03. Boogie Woogie
04. Sax Shack Boogie
05. Roll Mr Jelly
06. Grey Hound
07. House Party

Download from:

http://www10.zippyshare.com/v/XbNi61uX/file.html

Original post (April 9th, 2011), which contains recording info, career summary and recommended listening is here:

http://bebopwinorip.blogspot.co.uk/2011/04/amos-milburn-chicken-shack-boogie.html

As I wrote back in 2011 (five and a half years ago - help!), this is probably the best of the Pathe Marconi Amos Milburn collections. Apart from "It Took A Long Long Time", it's non-stop boogie, stomp, sway and rock from Amos, including the original 1948 hit version of "Chicken Shack Boogie." This is another much played LP, so there's quite a few clicks and pops along the way but that's what happens when you use your records the way the Good Lord intended them to be used. This stuff ain't for cataloging and filing away. This is the soundtrack for boozing, dancing and generally raisin' a ruckus. Go for it!

Amos Milburn - Chicken Shack Boogie

Side A
1. My Baby's Boogying
2. Amos’ Boogie
3. Bye Bye Boogie
4. It Took A Long Long Time
5. Chicken Shack Boogie
6. Pot Luck Boogie
7. Jitterbug Fashion Parade

Side B
1. Roomin' House Boogie
2. Johnson Rag
3. Boogie Woogie
4. Sax Shack Boogie
5. Roll Mr Jelly
6. Grey Hound
7. House Party

This is the fifth of the Pathe Marconi Amos Milburn LPs to be posted on the blog and I believe that the set is now complete. I can say that I’ve saved the best till the last, for this collection of classic tracks rocks, rolls, pounds and boogies in a merciless onslaught of the finest rhythm and blues you’ll hear anywhere.

The only break is provided by the slower “It Took A Long Long Time” at track 4. From track 5, which is the original hit version of “Chicken Shack Boogie,” there is simply no letup as Amos shouts the blues and pounds that piano to the blasting tenor sax accompaniment of studio bands led by the great Maxwell Davis or else his road band, The Aladdin Chicken-Shackers.

This is a collection which spans Amos’ successful years with Aladdin, beginning with his first session for the label in September 1946 and ending in 1955, by which time the hits had dried up. He was born in Houston, Texas, in 1927, into a family of twelve children. After war service in the Pacific, he became the main breadwinner for the family and took up music professionally, forming a small combo which played the clubs around the Houston area. While playing at the Keyhole Club in San Antonio he was spotted by Lola Anne Cullum (the wife of a Houston doctor) who was something of a promoter on the local music scene. Taking the young Amos under her wing, Mrs Cullum soon had him relocated to Los Angeles and signed up with Aladdin Records.

From that first session under the supervision of Maxwell Davis, “My Baby’s Boogying” achieved good sales locally. In the next year or so Amos laid down a mix of boogies, salacious double entendre blues and the occasional ballad which sold well enough but it wasn’t until November 1948 that real success came along when “Chicken Shack Boogie,” which he’d recorded in late 1947 just prior to the AFM recording ban, stormed to the top of the R&B charts. This kicked off a remarkable series of hits for Amos which lasted from 1949 through to 1954 when “Good Good Whiskey,” the last in a series of drink related hits, (“Bad Bad Whiskey,” “One Scotch, One Bourbon, One Beer,” etc.) charted.

Like many of his contemporaries, Amos was left behind by changing fashions in R&B and the advent of rock and roll. In 1956 he recorded in New Orleans with top musicians such as Lee Allen and Earl Palmer in an attempt to reboot his flagging career. This session produced one of the greatest rock and roll records of all time – a searing remake of “Chicken Shack Boogie” but it didn’t sell. The Aladdin contract was not renewed in 1957.

Towards the end of the 1950s Amos hooked up with his old buddy Charles Brown for live appearances and a single on Ace, “I Wanna Go Home,” / “Educated Fool.” Sam Cooke’s “Bring It On Home To Me” was heavily based on “I Wanna Go Home,” but for Brown and Milburn there was to be not a hint of the success that Cooke would have with his version.

Amos recorded for King and Motown between 1960 and 1967, but nothing sold. As the 60s became the 70s, increasing ill health including two strokes and a leg amputation blighted the remaining years of his life which came to a close on January 3rd, 1980.

Ripped from vinyl at 320 kbps.

Download from here:

http://www10.zippyshare.com/v/XbNi61uX/file.html

Amos Milburn (piano and vocal) on all tracks.

Los Angeles, September 12th, 1946. Unknown g, b, dm. Maxwell Davis (ts) present at session:

1. My Baby's Boogying (Aladdin 160)
2. Amos’ Boogie (Aladdin 173)

Los Angeles, October 27th, 1947. Maxwell Davis (ts), possibly Gene Phillips (g), unknown b and dm:

3. Bye Bye Boogie (Aladdin 206)
6. Pot Luck Boogie (Aladdin 3026)

Los Angeles, November 19th, 1947. Maxwell Davis (ts), unknown g, b and dm:

5. Chicken Shack Boogie (Aladdin, 3014)

Los Angeles, December 18th, 1947. Maxwell Davis (ts), probably Frank Heywood (g), unknown b and dm:

4. It Took A Long Long Time (Aladdin 3014)

Los Angeles, February 28th, 1949. Maxwell Davis (ts), Gene Phillips (g), Ralph Hamilton (b), Jesse Sailes (dm):

7. Jitterbug Fashion Parade (Aladdin 3023)

Los Angeles, July 13th, 1949. Maxwell Davis (ts), Chuck Norris (g), Ralph Hamilton (b), Lee Young (dm):

8. Roomin' House Boogie (Aladdin 3032)

Los Angeles, December 19th, 1949. Amos Milburn and his Aladdin Chicken-Shackers – Don Wilkerson (ts), Billy Smith (ts), Willie Simpson (bs), Johnny Brown (g), Harper Cosby (b), Calvin Vaughan (dm):

9. Johnson Rag (Aladdin 3049)
10. Boogie Woogie (Aladdin 3105)

Los Angeles, January 4th, 1950. Amos Milburn and his Aladdin Chicken-Shackers – Don Wilkerson (ts), Billy Smith (ts), Willie Simpson (bs), Johnny Brown (g), Harper Cosby (b), Calvin Vaughan (dm):

11. Sax Shack Boogie (Aladdin 3064)

Los Angeles, January 30th, 1952. Willie Smith (ts), Bill Hill (ts), Leroy Robinson (as and bs), Wayne Bennett (g), Leonard Sonny Williams (b), Eldeen McIntosh (dm):

12. Roll Mr Jelly (Aladdin 3133)

Los Angeles, August 21st, 1952. Maxwell Davis (ts), unknown bs, g, b and dm:

13. Grey Hound (Aladdin 3150)

Los Angeles, July 25th, 1955. Amos Milburn and his Aladdin Chickenshackers – Arnett Sparrow (tb), Eddie Chamblee (ts), Joe Evans (bs), Irving Ashby (g), possibly Red Callender (b), possibly Rufus Jones (dm):

14. House Party (Aladdin 3306)

Mo’ Amos –

On the blog – the other 4 Amos Milburn Pathe Marconi LPs are shown below:


That gives you quite a helping of Amos but there is much more to explore. Try to hunt down and purchase the following CDs:

"Amos Milburn Rocks!" (Bear Family) is probably the current best single CD overview of his career:

The Revola CD "Let's Have A Party" is a compilation of 1950s sides recorded for Aladdin:

If you wish to explore the career of Amos Milburn in depth (and who wouldn't?), then the Chronological Classics series covers 1946 - 1953 in 5 CDs. The first CD, 1946 - 1947, may be hard to obtain. The succeeding four are available at Amazon.co.uk, some as mp3 downloads.

Now sadly out of print, but still one of my all time favourite R&B CDs, is the Capitol Blues Collection 3CD set ""Blues, Barrelhouse & Boogie Woogie." 66 tracks and superb liner notes by Mark Humphrey. Still available as a surprisingly cheap mp3 download from Amazon, but if you find a second hand copy at a reasonable price, buy it.

Let's Make Christmas Merry, Baby / Bow Wow! - Amos Milburn and his Aladdin Chicken-Shackers (Aladdin 3037)

Listen to "Let's Make Christmas Merry, Baby"

Listen to "Bow Wow!"

There's good news for shellac fans: El Enmascarado has ripped more 78 rpm discs and among the latest offerings is this classic from Amos Milburn and his Aladdin Chicken-Shackers. Recorded in Los Angeles on the 1st of October, 1949, "Let's Make Christmas Merry, Baby" reached number 3 in the R&B chart in the weeks leading up to Christmas.

1949 was a peak year in the career of Amos Milburn. He had a string of big R&B hits and according to Billboard he was the top selling rhythm and blues artist of the year. He was also voted "Best Blues and Jazz Star of 1949" in Downbeat magazine. In the wake of his biggest hit "Chicken Shack Boogie," his road band was named the Aladdin Chicken-Shackers. Up until July 1949 Amos recorded with small studio groups led by Maxwell Davis. At the recording session of July 13th, a Davis-led studio combo was billed as the Aladdin Chicken-Shackers on "Roomin' House Boogie" and "Walkin' Blues."

At the next recording session on October 1st, 1949, Amos was backed by the real Chicken-Shackers, his road band, which featured a much heavier sax sound thanks to two tenor saxes and a baritone sax. Five sides were recorded: "Bow Wow," and "Let's Make Christmas Merry Baby," both released on Aladdin 3037, "Drifting Blues," and "Real Pretty Mama," both released on Aladdin 3038 and "Untitled Boogie," which remained unreleased until Capitol issued the 3 CD set "Blues, Barrelhouse and Boogie Woogie" in 1996.

The Aladdin Chicken-Shackers on this session were: Don Wilkerson and Willie Smith (tenor saxes), Willie Simpson, Jr. (baritone sax), Amos Milburn (piano, vocal), Johnny Brown (guitar), Harper Cosby (bass) and Calvin Vaughan (drums).

Amos recorded with this line-up until April 1951, occasionally alternating with Maxwell Davis led studio groups. "Let's Make Christmas Merry, Baby" is a fine piece of festive filth or seasonal sleaze which is rooted in "Merry Christmas Baby" - a 1947 hit for Charles Brown with Johnny Moore's Three Blazers. "Bow Wow" is a good instrumental workout, although one cannot help but feel that it is a bit of "filler" for the B Side of the intended Christmas hit.

Billboard ad

With thanks to El Enmascarado for his heroic efforts in creating a listenable rip from "Let's Make Christmas Merry, Baby" which was in very poor condition with scratches, a crack and a chewed up spindle hole.

Sources: liner notes by Mark Humphrey from the Capitol 3CD set "Blues, Barrelhouse and Boogie Woogie: The Best Of Amos Milburn, 1946-1955", and Billboard Magazine which is available free via Google Books.