The Hollywood Flames - The John Dolphin Sessions

Side A:
01. Clickety Clack I'm Leaving - The Hollywood Flames
02. Let's Talk It Over - The Hollywood Flames
03. Fare Thee Well - The Hollywood Flames
04. I Know - The Hollywood Flames
05. Wagon Wheels - The Original Turks
06. One Night With A Fool - The Hollywood Flames
07. Oooh-La-La - The Hollywood Flames
08. Peggy - The Hollywood Flames
09. Young Girl - The Hollywood Four Flames
10. The Glory Of Love - The Hollywood Four Flames

Side B:
01. Hey Now - The Voices
02. Ride Helen Ride - The Hollywood Flames
03. It Can't Be True - The Turks
04. Santa Claus Baby - The Voices
05. Emily - The Turks
06. Why - The Voices
07. The Truth Hurts - Bobby (Baby Face) Byrd And The Birds
08. I've Been Accused - The Turks
09. I'm A Fool - The Turks
10. My Love Grows Stronger - The Voices

The John Dolphin Sessions (Mega)

The John Dolphin Sessions (Zippy)

It's one of those posts that you dread trying to write. A convoluted tale of a vocal group with shifting personnel, various group names and a phenomenal amount of label hopping around the diskeries of Los Angeles. Luckily we have sleeve notes by Jim Dawson, and an article by Marv Goldberg which you can find here:

http://www.uncamarvy.com/HollywoodFlames/hollywoodflames.html

... but I think we'll concentrate mainly on the sides they recorded for the various John Dolphin labels.

The Hollywood Flames, or The Flames, or Hollywood's Four Flames, or The Four Flames, to give them the names they recorded under between 1950 and 1953 for a multiplicity of LA labels, were basically mainly about leads Bobby Byrd (who later had success as Bobby Day) and David Ford. Formed in 1949, the group won talent contests at The Barrelhouse - Johnny Otis's club, and had their first record issued on Selective in January 1950 ( as The Flames). Two more Selective releases followed, then in short order came discs on Unique, Fidelity and Specialty before their first releases for a John Dolphin label, "I'll Always Be A Fool" / "She's Got Something" and "Young Girl" / "Baby Please" on Recorded In Hollywood, both released in August 1952.

"Young Girl" was hastily re-released a month later, this time backed with a version of "Glory Of Love" as Dolphin attempted to cash in (in vain) on the success of The Five Key's smash hit. By the end of '52 they were on Aladdin and its 7-11 subsidiary (they had a release under the name "The Jets") where they stayed through 1953. At the end of that year and the beginning of 1954 they had a couple of releases on Jack Lauderdale's Swing Time label but in March 1954 they were back with John Dolphin.

By this time the group had acquired another formidable vocal talent in Gaynel Hodge. David Ford and Bobby Byrd took the leads respectively on "One Night With A Fool" / "Ride Helen Ride" on Lucky 001, the first release of their second spell with Dolphin in March 1954. Their next release, in July 1954, "Peggy" / "Oooh-La-La" (Lucky 006) featured Gaynel Hodge on lead vocal on "Peggy" and Bobby Byrd and David Ford leading on "Oooh-La-La." The disc generated enough sales to earn it a re-release on Decca in October 1954.

In September 1954 there were two Hollywood Flames discs released on John Dolphin labels. "Let's Talk It Over" / "I Know" on Lucky 009 (these were originally Swing Time masters) with David Ford and Gaynel Hodge on lead respectively. In the same month there was another Dolphin release, this time on Money - "Fare Thee Well" / "Clickety Clack I'm Leaving" (Money 202) with David Ford and David Ford / Bobby Byrd on respective leads.

Decca also re-released "Let's Talk It Over" / "I Know" in January 1955.

Now things get complicated with a slew of John Dolphin releases in 1955 - 1956 by The Voices and The Turks. The Voices were a vehicle for Bobby Byrd with a shifting lineup usually featuring duets either with himself (double tracked, natch) or with Earl Nelson. The Turks were a group led by Gaynel Hodge, but just to complicate matters, a couple of Turks releases were actually Hollywood Flames recordings. Marv Goldberg has a separate article on The Turks here:

http://www.uncamarvy.com/Turks/turks.html

According to Marv Goldberg, "Emily" released in February 1955 on Money 211 as by The Turks is in fact a Hollywood Flames recording with Gaynel Hodge on lead. However, "I'm A Fool" / "I've Been Accused" released on Money 215 in February 1956 are genuine Turks recordings. The third and last Turks release on a Dolphin label was "It Can't Be True" / "Wagon Wheels" in July 1956 on Cash 1052. "Wagon Wheels" was credited to "The Original Turks" but was actually a Hollywood Flames recording with a lead vocal by Bobby Byrd.

1955 also saw a spate of releases on Cash by Bobby Byrd's The Voices, starting with "Why" / "Two Things I Love" (Cash 1011) in May. "Hey Now" / "My Loves Grows Stronger" (Cash 1014) came out in August. "I Want To Be Ready " / "It Takes Two To Make A Home" (Cash 1015) was reviewed in Billboard on 31st December 1955, although Cash 1016, "Santa Claus Boogie" / "Santa Claus Baby" had already been issued in November.

All of which leaves just one track from this LP, a Voices track, "The Truth Hurts" released as by Bobby (Baby Face) Byrd and The Birds in April 1956 on Cash 1031, b/w "Let's Live Together as One."

In 1957 The Hollywood Flames (Bobby Byrd, David Ford, Earl Nelson and Curlee Dinkins) signed up with Class, and a couple of name changes ensued as Bobby Byrd became Bobby Day, and The Hollywood Flames became The Satellites. They had a hit with "Little Bitty Pretty One" which was unfortunately outsold by a cover version by Thurston Harris. In the meantime the group recorded for Ebb as The Hollywood Flames. They had a hit with the Bobby Day composition "Buzz, Buzz, Buzz" and then Bobby left to concentrate on his own career, although Bobby and The Flames (as The Satellites or incognito) would still record together on Class.

Also in 1957-58, Bobby Day and Earl Nelson issued singles on Class as "Bob and Earl," a duo that kept going after Bobby Day left and was replaced by Bob Mark II - Bob Relf. Bob Relf and Earl Nelson had the hit "Harlem Shuffle" in 1963.

In 1958 Bobby had a huge hit with "Rock-In Robin" and The Flames were the uncredited backing group. Although they didn't have the level of success achieved by Bobby, The Hollywood Flames (led by Earl Nelson, although David Ford was still with them) did record a couple of great rock and roll sides for Ebb - "Frankenstein's Den" and the absolute classic "Strollin' On The Beach."

The Flames kept recording for Ebb until 1959 and then started a period of label hopping and personnel changes (with the last original member being David Ford) before finally breaking up in 1967.

The Fax on the Trax - Original Release Information

01. Clickety Clack I'm Leaving - The Hollywood Flames - Money 202, September 1954
02. Let's Talk It Over - The Hollywood Flames - Lucky 009, September 1954
03. Fare Thee Well - The Hollywood Flames - Money 202, September 1954
04. I Know - The Hollywood Flames - Lucky 009, September 1954
05. Wagon Wheels - The Original Turks - Cash 1042, July 1956
06. One Night With A Fool - The Hollywood Flames - Lucky 001, March 1954
07. Oooh-La-La - The Hollywood Flames - Lucky 006, July 1954
08. Peggy - The Hollywood Flames - Lucky 006, July 1954
09. Young Girl - The Hollywood Four Flames - RIH 165, August 1952; RIH 165, September 1952
10. The Glory Of Love - The Hollywood Four Flames - RIH 165, September 1952
11. Hey Now - The Voices - Cash 1014, August 1955
12. Ride Helen Ride - The Hollywood Flames - Lucky 001, March 1954
13. It Can't Be True - The Turks - Cash 1042, July 1956
14. Santa Claus Baby - The Voices - Cash 1016, November 1955
15. Emily - The Turks - Money 211, February, 1955
16. Why - The Voices - Cash 1011, May 1955
17. The Truth Hurts - Bobby (Baby Face) Byrd And The Birds - Cash 1031, April 1956
18. I've Been Accused - The Turks - Money 215, February 1956
19. I'm A Fool - The Turks - Money 215, February 1956
20. My Love Grows Stronger - The Voices - Cash 1014, August 1955

Elsewhere On The Blog

Bobby Day LP "Rockin' With Robin" issued on Class in 1958. Reconstituted with rips and label scans from Joan. Original post now augmented with covers from 45worlds.com. Originally posted in May 2008. The post is here - 

Bobby Day - Rockin' With Robin

New download links for Rockin' With Robin -

Rockin' With Robin (Mega)

Rockin' With Robin (Zippy)

Recommended Purchase -

Ace CDCHD 420 - The Hollywood Flames

A 28 track collection from Specialty which includes early 1950s issues on Specialty and Fidelity plus the late 1950s releases on Ebb. A must for any fan of the West Coast vocal group sound. Liner notes by Billy Vera. Great R&B and rock 'n' roll.

 

Bobby Day - Rockin' With Robin

A Joan K post in response to an appeal in the comments section!

Bobby Day was a founder member of vocal group The Hollywood Flames which was formed in 1949. They spent most of the 1950s jumping from label to label until they had recorded for just about everyone on the West Coast, and also went through a bewildering series of personnel changes.

In late 1957 The Flames had a smash hit on Ebb with “Buzz Buzz Buzz” and just as that record was entering the charts they recorded “Little Bitty Pretty One” (written by Bobby Day) as Bobby Day and The Satellites for Leon Rene’s Class records. Unfortunately for Bobby the record was quickly covered by The Lamplighters (doing business as Thurston Harris and The Sharps) on Aladdin and it was their version which had the pop and R&B success while Bobby Day’s original failed to chart. It’s a cutthroat business, and if you ain’t first you’re last.

Class persevered with Bobby and were rewarded when he had a massive pop and R&B hit with “Rockin’ Robin”. There is a God after all.

Bobby went on to become one half of Bob & Earl on the hit “Gee Whiz”, but had been replaced by another Bobby (Relf) by the time “Harlem Shuffle” came along.

This LP was issued in 1958. It’s a mix of R&B, rock and roll, and slightly cloying pop as Class sought to keep Bobby in the charts. The sound quality on these tracks is good, except for track 4 which has loads of clicking and popping . Joan once again provides us not only with sounds but also label scans.

Ripped at 160 kbps (except track 4: converted from m4a). Password = greaseyspoon

Download from here

http://rapidshare.com/files/117822280/Rockin__With_Robin.rar

1. Rockin' Robin
2. Darling If I Had You
3. Sweet Little Thing
4. Saving My Life For You
5. Little Turtle Dove
6. Over And Over
7. Little Bitty Pretty One
8. Come Seven
9. Honeysuckle Baby
10. When The Swallows Come Back To Capistrano
11. Beep Beep Beep
12. So Long Baby

And now for a selection from the folder of Joan’s label scans:

New York Blues Volume 2

Tracklist:

Side 1

01. Angel Child - Sammy Myers

02. Little Girl - Sammy Myers

03. You Don't Have To Go - Sammy Myers

04. Sad, Sad Lonesome Day - Sammy Myers

05. Rockin' With B - B. Brown & His Rockin' McVouts

06. The Pleasure Is All Mine - Bobby Long

07. I'm Tired Of It - Dr. Horse

Side 2

01. I Go Into Orbit - Johnny Acey

02. What Am I Going To Do - Johnny Acey

03. Why Baby - Mighty Joe Young

04. Empty Arms - Mighty Joe Young

05. Jack That Cat Was Clean - Dr. Horse

06. Think I Know - Dr. Horse

07. Go Away Mr. Blues - Noble Watts and June Bateman

Download from:

New York Blues Volume 2 (Mega)

New York Blues Volume 2 (Zippy)

Second compilation of blues sides from Bobby Robinson's labels. These are all early 1960s recordings from Fire, Fury, Fling and Everlast. Two of the Sammy Myers sides (recorded with Elmore James in 1961) were unissued as singles. Original release details are given below:

01. Angel Child - Sammy Myers - unissued recording (1961)

02. Little Girl - Sammy Myers - unissued recording (1961)

03. You Don't Have To Go - Sammy Myers - Fury 1035 (1960)

04. Sad, Sad Lonesome Day - Sammy Myers - Fury 1035 (1960)

05. Rockin' With B - B. Brown & His Rockin' McVouts - Everlast 5014 (1961)

06. The Pleasure Is All Mine - Bobby Long - Everlast 5020 (1963)

07. I'm Tired Of It - Dr. Horse - Fire 501 (1961)

08. I Go Into Orbit - Johnny Acey - Fling 728 (1962)

09. What Am I Going To Do - Johnny Acey - Fling 728 (1962)

10. Why Baby - Mighty Joe Young - Fire 1033 (1961)

11. Empty Arms - Mighty Joe Young - Fire 1033 (1961)

12. Jack That Cat Was Clean - Dr. Horse - Fire 514 (1962)

13. Think I Know - Dr. Horse - Fire 501 (1961)

14. Go Away Mr. Blues - Noble Watts and June Bateman - Everlast 5033 (1965)

Bobby Robinson was an example of that comparative rarity in the world of 1950s R&B - a black entrepreneur who owned record companies catering for the musical tastes of the black community. Other examples include Don Robey, John Dolphin and the Rene Brothers. His first label, started in 1951, was Robin (quickly renamed Red Robin) on which the first record issued was "Bobby's Boogie" / "Ghost Town" by saxman Morris Lane. Other Bobby Robinson labels were Fire, Fury and Fling. He had a brief business relationship with Jerry Blaine with whom he co-owned the Whirlin' Disc label. With his brother Danny, Bobby also ran Everlast and Enjoy. Danny owned Holiday and Vest.

The music issued on these labels covered most R&B bases, from sophisticated sax outings to fiery electric guitar blues to doo wop. The only really big pop hit was Wilbert Harrison's "Kansas City" but Buster Brown's "Fannie Mae" and "Sugar Babe", Bobby Marchan's two parter "There Is Something On Your Mind", and "Soul Twist" by King Curtis also saw a bit of pop action while selling well in the R&B market.

In the UK, JSP Records have issued a 4 CD collection, "The Bobby Robinson Story, Selected Sides 1951 - 1960."

There are no doo wop or vocal groups sides included. Disc A is drawn from the Red Robin label and includes sides by Morris Lane, Charlie Singleton, Red Prysock, Tiny Grimes, Sonny Terry, Champion Jack Dupree and Brownie McGhee. Disc B has Fire and Fury sides from Hal Paige & The Wailers, Wilbert Harrison, Junior Lewis, Sam Myers and Tarheel Slim. Disc C has Fire sides by Willis Jackson, Mary Ann Fisher, Buster Brown, Wild Jimmy Spruill, Riff Ruffin, Tarheel Slim & Little Ann, Elmore James and Bobby Marchan. Disc D has Fury, Fire, Vest and Everlast sides by, inter alia, Tarheel Slim, Buster Brown, Bobby Marchan, Elmore James, Lightnin' Hopkins, Wild Jimmy Spruill and B.Brown.

If that don't whet your appetite then Jack you're dead.

Also worth looking out for is the 2 CD letter box set on Charly from 1996 - "The Fire & Fury Story."

Disc One is titled "The Doo Wop Years" and includes sides by The Du-Droppers, The Channels, The Teenchords, The Kodoks, The Vocaleers and others. Disc Two is a more eclectic mix with quite a few sides and artists to be found on the JSP collection plus Arthur Crudup, King Curtis, Titus Turner and the one and only Doctor Horse.

Little Esther - Bad Baad Girl!

Side One:
01. Looking For A Man - Little Esther
02. The Deacon Moves In - Little Esther with The Dominoes
03. I'm A Bad, Bad Girl - Little Esther with Mel Walker
04. Ring-A-Ding Doo - Little Esther with Mel Walker
05. Aged And Mellow - Little Esther
06. Ramblin' Blues - Little Esther
07. The Storm - Little Esther
08. Hollerin' And Screamin' - Little Esther

Side Two:
01. Mainliner - Little Esther with The Robins
02. Saturday Night Daddy - Little Esther with Bobby Nunn
03. You Took My Love Too Fast - Little Esther with Bobby Nunn
04. Last Laugh Blues - Little Esther with Little Willie Littlefield
05. Flesh, Blood And Bones - Little Esther
06. Turn The Lamps Down Low - Little Esther with Little Willie Littlefield
07. Cherry Wine - Little Esther
08. Hound Dog - Little Esther

Little Esther - Bad Baad Girl! (Mega)

or

Little Esther - Bad Baad Girl! (Zippy)

Our previous post on Little Esther's big selling Savoy sides ended with the teenage chanteuse leaving that label for the newly founded Federal label, a Ralph Bass run subsidiary of King Records. Her first recording session for Federal took place in January 1951. In the meantime the Johnny Otis band continued to record for Savoy until March 19th 1951 but his anticipated transfer to Federal didn't happen. Instead he signed for Mercury and the band recorded for that label from December 1951 to July 1952. 

Thereafter Johnny went to Don Robey's Houston based Peacock Records for whom he worked in both Houston and Los Angeles as A&R man, producer and band leader on tracks recorded by artists like Big Mama Thornton, Johnny Ace and Little Richard.

However one look at the personnel on these Federal recordings by Little Esther (which you can find on the back cover of this LP) shows that the backing band on her 1951 and 1952 tracks is indeed the Johnny Otis Orchestra doing a spot of moonlighting.

As you can see in the original release information below, backing on Little Esther discs was at first credited to the "Earle Warren Orchestra," ex-Basie man Earle being the alto sax player in Johnny's band at that time. Then there was the not-at-all obvious pseudonym of the "J. and O. Orchestra," and by the time of the 1952 releases there was no mention of the accompanying band.

When Preston Love (Johnny's band mate back in the Omaha days and then in the early days of Johnny's big band) replaced Earle Warren on alto sax in 1952, some discs credited to the Preston Love Orchestra were released on Federal, again disguising the fact that they were by the Johnny Otis Orchestra.

During 1951 and at least the first half of 1952 Little Esther continued to tour with the Johnny Otis group. Other Otis-connected artists appearing on these sides are Mel Walker and Bobby Nunn, so this collection fits in nicely with our series of Johnny Otis related posts.

The very informative sleeve notes by Norbert Hess tell the tale of Little Esther's estrangement from Johnny Otis involving Esther's mother and a heap of cash. The Otis band backed Esther for the last time in August 1952. In a final session for Federal in March 1953, Little Esther was backed by King studio musicians including Rufus Gore and Hank Marr.

In July and September 1953 Little Esther recorded for Decca. These sides went nowhere and the recent spell of stardom already seemed to have faded fast away as what may euphemistically be called "health problems" began to take their toll. For the rest of her sadly all too short life Little Esther or Esther Phillips as she was now known would be plagued by addiction problems although there were periods when she recorded strong material and made dents in both the pop and R&B charts.

In 1975 her version of the Dinah Washington hit "What A Difference A Day Makes" was an international success, reaching number 20 in the US pop chart and number 6 in the UK chart. For the cognoscenti her 1971 recording of Gil Scott Heron's "Home Is Where The Hatred Is" is a harrowing classic. Esther Phillips died aged 48 in August of 1984.

But here on Be Bop Wino we rarely move beyond the 1950's so enjoy Little Esther, Johnny Otis and the band, Bobby Nunn, Mel Walker, The Dominoes and Little Willie Littlefield on these blasters from back in the day.

Atlanta, April 1951

Here are the original release details of the tracks:

Federal 12016 - "The Deacon Moves In" by Little Esther with the Earle Warren Orchestra, b/w "Other Lips, Other Arms" - Little Esther with the Earle Warren Orchestra. February 1951.

Federal 12023 - "I'm A Bad, Bad Girl" by Little Esther with the Earle Warren Orchestra, B-Side of "Don't Make A Fool Out Of Me" - Little Esther with the Earle Warren Orchestra. April 1951.

Federal 12036 - "Looking For A Man (To Satisfy My Soul)" by Little Esther with the Earle Warren Orchestra, b/w "Heart To Heart" - Little Esther and The Dominoes with the Earle Warren Orchestra. July 1951.

Federal 12055 - "Ring-A-Ding-Doo" by Little Esther and Mel with the J. and O. Orchestra, b/w "The Crying Blues" by Little Esther with the J. and O. Orchestra. November 1951.

Federal 12063 - "The Storm" by Little Esther, B-Side of "Summertime" - Little Esther. March 1952.

Federal 12078 - "Aged And Mellow" by Little Esther, B-Side of "Bring My Lovin' Back To Me" - Little Esther. May 1952.

Federal 12090 - "Ramblin' Blues" by Little Esther, b/w "Somebody New" by Little Esther. August 1952.

Federal 12100 - "Saturday Night Daddy" by Little Esther & Bobby Nunn, b/w "Mainliner" by Little Esther. October 1952.

Federal 12108 - "Last Laugh Blues" by Little Esther and Little Willie, b/w "Flesh, Blood And Bones by Little Esther. November 1952.

Federal 12115 - "Turn The Lamps Down Low" by Little Esther and Little Willie, b/w "Hollerin' And Screamin'" by Little Esther. February 1953.

Federal 12122 - "You Took My Love Too Fast" by Little Esther and Bobby Nunn, b/w "Street Lights" by Little Esther. April 1953.

Federal 12126 - "Hound Dog" by Little Esther, b/w "Sweet Lips" by Little Esther. April 1953.

Federal 12142 - "Cherry Wine" by Little Esther, b/w "Love Oh Love" by Little Esther. September 1953.

Cash Box February 1951

Plas Johnson - Rockin' With The Plas

Side 1
1. Hoppin' Mad
2. Blow your Blues away
3. Popcorn
4. Downstairs
5. The Loop
6. Swanee River Rock
7. The Big Twist

Side 2
1. Little Rockin' Deacon
2. You Send Me
3. Robin's Nest Cha Cha
4. Plas Jazz
5. Come Rain or Come Shine
6. Dinah
7. Everyone Knows

Now listen up you be bop winos! Big Al (The Bloggers’ Pal) has sent in another tenor sax vinyl gem – a 1980s French Pathe Marconi comp of Plas Johnson’s Capitol singles.

Maybe you haven’t heard of him, but you certainly have heard him. How about these: Shuffle In the Gravel by Young Jessie; Stranded In The Jungle by The Cadets; Girl Of My Dreams by Jesse Belvin; Searchin’ by The Coasters; Rockin’ Robin by Bobby Day; Bony Moronie by Larry Williams; Teenage Heaven by Eddie Cochran; Say Mama by Gene Vincent; and a myriad of tracks by Duane Eddy, Ernie Fields, The Piltdown Men, Sandy Nelson, The Ernie Freeman Combo, Johnny Otis, The Marketts, The Routers, The Olympics, and Don & Dewey. And that’s just scraping the surface of the output of Plas Johnson, LA session man extraordinaire.

And if you ain’t no fan of rock and roll or R&B, you’ve STILL heard him on The Pink Panther Theme or The Odd Couple Theme. Plas Johnson’s sax stylings have been ubiquitous on countless pop, rock and roll, rhythm and blues, soul, jazz and film soundtrack recordings emanating from the recording studios of Los Angeles, especially those of Capitol, Imperial and Liberty.

Plas was born in 1931 in Donaldsonville, Louisiana. In the late 1940s, along with his pianist brother Ray, he formed a band called the Johnson Brothers Combo which played around New Orleans and recorded a single for DeLuxe in 1949, “Our Boogie” b / w “Mellow Mama.” Plas went on the road with the Charles Brown Band, and then had a spell in the armed forces.

After completing his service he moved to Los Angeles along with his brother Ray, and around 1955 -56 the brothers were recording with drummer George Jenkins (once of the Buddy Johnson Orchestra back in the day) for the Tampa label. Some of these recordings were issued on an LP credited to Jenkins, “Drum Magic,” while others appeared on an LP credited to Plas, “Bop Me Daddy.”

Big Al also sent in “Bop Me Daddy” but a quick check showed that, unbelievably, this obscure 8 track LP is available as an Amazon mp3 download. One track from the album, “Dungaree Hop” is on the blog post “Original Rhythm ‘N Blues.” If you want to hear the rest of the tracks though, I’m afraid you’ll have to get yourselves over to Amazon. It’s a good LP of gutsy, swingin’ small combo R&B instrumentals. The moody “Last Call,” a Plas composition, is a stand out track. Striptease jazz at its finest. Below you’ll find Big Al’s front and back cover scans of “Bop Me Daddy,” which I’ve included in the download


In 1957 Plas took a break from recording on other people’s discs and laid down a bunch of sides for Capitol, all of which were released as singles and which didn’t make it to LP until Pathe Marconi issued this set. The musicians on these sides were mainly those with whom Plas was recording as a session man – Earl Palmer and Ray Martinez on drums, Irving Ashby, Rene Hall and Bill Pitman on guitar, Ernie Freeman and Ray Johnson on piano and Red Callender on bass. The sound is rather different from the R&B of “Bop Me Daddy.” It’s a mix of what we nowadays call space age pop, lounge, jazz noir, striptease jazz, anything but rock and roll or rhythm and blues. We’re talking mainly background music to that sophisticated cocktail party in your space age bachelor pad.

But do not despair, there’s some great stuff here. Striptease jazz gets covered in the bump ‘n’ grind of “The Big Twist” (swing those tassles, baby!); “Downstairs” is a tremendously tense piece just begging to be played over the opening credits of a late 50s / early 60s TV crime series; its B-Side “The Loop” is a good wailin’ stomper; “Blow Your Blues Away” is another little gem with Plas wailing through a girlie vocal chorus. Now let’s be honest, there is a pop sensibility to a lot of the stuff here, with catchy little hooks and vocal choruses. It’s of its time, but the instrumentalists do get to show off tremendous technique, and all in all it’s an enjoyable listening experience.

In 1958, Plas played flute on an LP for Score, simply titled “Plas Johnson.” In 1959 and 1960, Capitol released two LPs by Plas – “That Must Be The Plas!” and “Mood For The Blues.” In 1963 Charter released two LPs featuring Plas under the pseudonym Johnny Beecher and in 1964 came the Capitol single of The Pink Panther Theme. Through all this and up to the present day Plas continued his session work, including backing Marvin Gaye and Rod Stewart. The website at plasjohnson.com brings you up to date on this fine and still very much active musician. Of course such modernity is beyond the scope of this blog because on Be Bop Wino the 1960s haven’t happened yet.

Ripped from vinyl at 320 kbps. Password = greaseyspoon

Download from here:

http://www16.zippyshare.com/v/RgUThBP6/file.html


Tracklist:

1. Hoppin' Mad
2. Blow your Blues away
3. Popcorn
4. Downstairs
5. The Loop
6. Swanee River Rock
7. The Big Twist
8. Little Rockin' Deacon
9. You Send Me
10. Robin's Nest Cha Cha
11. Plas Jazz
12. Come Rain or Come Shine
13. Dinah
14. Everyone Knows

Recommended purchases:

On Amazon download the mp3 album “Bop Me Daddy.” Rousing stuff.

I had a look through my CDs and found that I had three which feature loads of Plas and here they are:


Sandy Nelson – Rock’N’Roll Drumbeat, Ace CDCHD 586 – tenor sax duties split with Jackie Kelso, once of Roy Milton’s Solid Senders.


Ernie Freeman Combo – Raunchy, Ace CDCHD 659 – good R&B instros


The Piltdown Men Ride Again, Ace CDCHD 681 – includes tracks by Ernie Fields, Billy May and Earl Palmer (Drum Village).

Thank you, Big Al!

Listen to Plas (Downstairs):

Joan Selects, Volume 18 – Joan’s New Orleans Jazz Fest Special

(This post originally appeared on the old Bebopwino on April 3rd 2009.) The best yet! I’m not going to say anything except that this selection had me bouncing around the house and almost weeping with pleasure as rhythmic delight after rhythmic delight boomed out of my hi-fi. Over to Joan:

It is one of those unintended confluences that Joan Selects, Volume 18 - Joan's Jazz Fest Special appears just several weeks from the start of the 40th annual New Orleans Jazz and Heritage Festival www.nojazzfest.com/. You can thank your blog host for the great timing for this post.

All the music in Joan Selects - Volume 18, emanates from the musical gold-mine that is New Orleans. In fact most all the selections here-in presented were recorded at the legendary J & M recording studios under the astute and gifted direction of Cosimo Matassa.

America's sweethearts, Shirley and Lee lead off Volume 18, with a song that's been recorded in various forms by a whole host of artists, Let The Good Times Roll (Laisse Les Bons Temps Rouler) for the Mesners’ Aladdin record company.

A New Orleans slant on an old 1930's blues theme Stagger Lee, is provided by Archibald (Leon Gross) for Lou Chudd's Imperial Label. Imperial and Aladdin made heavy use of New Orleans artists through out the late 1940's and 1950's.

James "Sugarboy" Crawford, with Snooks Eaglin on guitar, provides one of two Mardi Gras standards - "Jock-A-Mo", recorded for the Checker Label. Producer and band leader Dave Bartholomew, in addition to the other artists he produced and orchestrated, chipped in with occasional recordings of his own - two of which are presented here: "Who Drank My Beer While I Was In The Rear" on Imperial and the privately recorded "Good Jax Boogie" actually an early 1950's advertisement for the Jackson Brewery's main beer: Jax Beer.

The luminary Roland Byrd, more commonly known as Professor Longhair is rep-resented by three selections, here spanning from the earliest for the Mercury recording label: "Bald Head", to the other of the Mardi Gras staples herein presented "Going To The Mardi Gras" and finally the amazingly complex hand stretching piano workout from Professor Longhair, on the Watch Label, "Big Chief, Parts One and Two".

The immensely gifted Aaron Neville is included here with a magical ballad "Every Day" recorded on the Minit Label. Neville's vocal dexterity must be heard to be believed, as he closes out Jazz Fest annually with Amazing Grace.

Several (certainly not enough, in my estimation) zydeco selections are included in volume 18, Clifton Chenier's "Ay-Tete-Fee" (Et Petite Fille) from Art Rupe's Specialty marque is a hard moving accordion based beauty of a song, and from Louisiana's home grown Goldband label comes Cleveland Crochet with "Sugarbee" featuring the vocals of Jay Stutes.

Speaking of vocals New Orleans balladeer Johnny Adams is also a mandatory Volume 18 selection, with his huge hit: "I Won't Cry". New Orleans Doo Wop groups - Chuck Carbo and the Spiders, Bobby Mitchell and The Toppers, and the Pelicans are included (all from the Imperial label).

And of course, Antoine “Fats” Domino, who embodies New Orleans and the 9th Ward, where he continued to live right up until Hurricane Katrina, is represented with one of his major Imperial hits: "I'm Walkin".

Hope that these representative 33 cuts impart some sense of the gifted and multi-talented musicians from New Orleans = The Music City!
Thank you, Joan, for an outstanding selection of New Orleans music and also for a folder of 31 (!) label scans.

Ripped from vinyl at mostly 128 kbps.

Download from here:

http://www13.zippyshare.com/v/R8ExHKEw/file.html

01 Shirley and Lee - Let The Good Times Roll - Aladdin 45-3325
02 Huey Smith and the Clowns - Having A Good Time - Ace 548
03 Earl King - Those Lonely, Lonely Nights - Ace 509
04 Archibald - Stack-a-Lee, Pts. 1 & 2 - Imperial x5358
05 Sugarboy - Jock-A-Mo - Checker 787
06 Wee Willie Wayne - Travellin' Mood - Imperial X5355
07 Paul Gayten - The Music Goes Around and Around - Argo 5257
08 The Hawkettes - Mardi Gras Mambo - Chess 1591
09 Dave Bartholomew - Who Drank My Beer While I Was In the Rear - Imperial 5210
10 Bobby Mitchell and the Toppers - 4 - 11 = 44 - Imperial 45-4250
11 Roy Byrd - Bald Head - Mercury 8175-X45
12 Eddie Bo - We Like Mambo - Ace 515
13 Larry Darnell - For You My Love - Regal 3240 (11/1949)
14 Fats Domino - I'm Walkin' - Imperial 5428
15 Chris Kenner - Sick and Tired - Imperial X5448
16 Jewel King - 3 x 7 = 21 - Imperial 5055 (3/1950)
17 Professor Longhair - Going to The Mardi Gras - Ron 329
18 Dave Bartholomew - Good Jax Boogie - JAX 1-2
19 Johnny Fuller - Sister Jenny - Imperial X5382
20 Frankie Ford - Roberta - Ace 554
21 The Spiders - Witchcraft - Imperial X5366
22 Aaron Neville - Every Day - Minit 612
23 Bobby Charles - Put Your Arms Around Me Honey - Chess 1647
24 Clifton Chenier - Ay-Tete-Fee - Specialty XSP-552-45
25 Johnny Adams - I Won't Cry - Ric 961 RIC
26 Smiley Lewis - Shame, Shame, Shame - Imperial X5418
27 Roland Cook - I've Got A Girl -
29 The Pelicans - Chimes - Imperial x5307
30 Lee Allen - Rockin' At Cosimo's - Aladdin 45-3334
31 Cleveland Crochet - Sugarbee - Goldband S-1055
32 Rod Bernard - This Should Go On Forever - Jin 45-101
33 Professor Longhair - Big Chief 1 and 2 - Watch 45-1900

T-Bone Walker - T-Bone Jumps Again

Side 1
1. Hypin' Woman Blues
2. Too Much Trouble Blues
3. I Got A Break Baby
4. Mean Old World
5. Bobby Sox Blues
6. I Know Your Wig Is Gone
7. T-Bone Jumps Again
8. Call It Stormy Monday

Side 2
1. You're My Best Poker Hand
2. First Love Blues
3. She's My Old Time Used To Be
4. On Your Way Blues
5. I Wish You Were Mine
6. Wise Man Blues
7. Born To Be No Good
8. T-Bone Shuffle

This is a glorious Charly collection of pioneer of the electric blues guitar T-Bone Walker’s classic 1946-47 sides which he recorded for LA indy label Black and White, plus two sides he recorded for Capitol in 1942 while with the Freddie Slack Orchestra. I bought it way back in 1981 at a time when my jump blues collection consisted of little more than a handful of Swing House LPs, a best of Louis Jordan compilation on MCA, a scratched second hand Amos Milburn comp on United Artists and some imported King releases on Gusto. So you can imagine the impact these jumpers, jivers, shuffles and blues had on the as yet youthful Be Bop Wino.

Oh sure, I could write at length about the importance of T-Bone Walker in the history of R&B. About how every blues guitarist and (shudder) blues-rawk axeman owes him a debt of gratitude. Or perhaps I would be better looking back to the influences and experiences that shaped T-Bone’s music and stage act, influences that reach back through string bands, Blind Lemon Jefferson, medicine shows, classic blues divas, chumming around with Charlie Christian, big bands, jamming all night with Lester Young, and just corny old showbiz in the shape of musical reviews and song and dance acts. But what this post is really about is the fantastic music contained in these sixteen tracks. They may be slightly crackly and scratched but I’ve had the LP for around thirty years, so what do you expect?

Quite simply this is probably the coolest music you’ll ever hear. It’s real relaxed West Coast Rhythm ‘n’ Blues with small jump bands led by Jack McVea and Bumps Myers providing subtle accompaniment to T-Bones’ smoky vocals and tasteful guitar licks.

Texan T-Bone arrived in California sometime in the mid 1930s. Big Jim Wynn remembered him in the Little Harlem Club in Watts in 1936: “He was dancing and picking up tables with his mouth. He’d dance on a table and then grip it in his teeth and whirl it around. That’s what Miss Brown booked him for, as a dancer. He started singing with the first small band I had and the people went mad about him. He had a funny little box he’d play, a contraption he had made himself …” Sounds like T-Bone was already experimenting with an amplified guitar.

In 1939 T-Bone joined the big band of Les Hite as a vocalist. In fact this was a new edition of the long established band as in September 1939 Hite had dismissed his own band and taken over that of Floyd Turnham. The band went on an extensive tour, opening in Dallas at the end of September (they may have picked up T-Bone in his old home town), and in January 1940 arrived in New York. “Downbeat” noted that “his new star is T-Bone Walker with choruses on ‘I wonder why she don’t write to me.’” While in New York, the band recorded for Varsity with T-Bone’s vocals (but not guitar) being showcased on “T-Bone Blues.”

During the tour T-Bone experimented backstage with a Gibson electric guitar and on his return to LA he developed a sensational crowd pulling act with his new instrument. He had the tricks which in later years would be used by Chuck Berry and Jimi Hendrix – playing the guitar behind his head and while doing the splits. Club success brought him to the attention of new label Capitol Records. In July 1942 T-Bone was on several Capitol sessions with the Freddie Slack Orchestra, a boogie based big band which had the fabulous Ella Mae Morse on vocals (along with Johnny Mercer).

At the end of his first session with the full band (having recorded “Mister Five By Five” and several other tracks), T-Bone was backed by a rhythm trio from the band (including Freddie himself) on “Mean Old World” and “I Got A Break Baby.” This was the first time that T-Bones’ by now fully developed vocal / guitar style was recorded. However, the first Petrillo recording ban brought a temporary hiatus to his recording career. It would be over two years before T-Bones’ electric blues guitar would be captured on wax again, this time for the Chicago based Rhumboogie label, which was a promotional tie-in for the successful Chi-Town Rhumboogie night club.

The Rhumboogie opened in April 1942 with a show headlined by the Tiny Bradshaw band. In August 1942 T-Bone opened at the club as the headliner in “The Dream Revue,” a show which featured singers, dancers, chorus girls and the Milt Larkin band with Arnett Cobb and Tom Archia on saxes. The Revue, which ran until October, was a massive success and in January 1943 T-Bone was back at the club, once again with the Milt Larkin band providing backing. T-Bones’ 1944 run at the club was another success, being repeatedly extended until Wynonie Harris took over as the headliner.

As T-Bones’ 1944 spell at the Rhumboogie drew to an end at the beginning of October, he recorded six tracks for the new Rhumboogie record label backed by the Marl Young band who were by now the house band at the club. “Sail On Boogie” in particular was a storming showcase for T-Bones’ electric guitar. Three singles were released from this session, and a further session of four songs was recorded in December 1945, but none of these later recordings was released on Rhumboogie. However, two of the tracks were released as a single on Mercury.

In September 1946 T-Bone signed up with the Los Angeles based Black and White label for whom he  recorded under the supervision of Ralph Bass until the end of 1947. At the two 1946 sessions T-Bone was backed by label mate Jack McVea’s band, with trumpeter Al Killian being added on the second session in December 1946. For the 1947 sessions, studio bands centred on tenor sax man Bumps Meyers and former Les Hite drummer Oscar Lee Bradley provided sterling support. Other musicians involved included pianists Lloyd Glenn and Willard McDaniel, trumpet players Teddy Buckner and George Orendorff and bass player Billy Hadnott.

The Black and White recordings had considerable commercial success with “Bobby Sox Baby,” “Stormy Monday,” “Long Skirt Baby Blues,” “I Want A Little Girl,” “I’m Waiting For Your Call,” “Midnight Blues,” “West Side Baby,” “Description Blues” and “T-Bone Shuffle” all entering the R&B charts between 1947 and 1949.

Despite achieving good sales for records by Jack McVea and T-Bone, Black and White ran into financial problems during 1948, eventually going out of business. The T-Bone masters were bought up by Capitol in April 1949. Their new owners remastered and renumbered the tracks and reissued many of them, leading to considerable discographical confusion, which is reflected in the sleevenotes to this LP. When T-Bone resumed his recording career in 1950, he had signed with Lew Chudd’s Imperial label. That story, however, is for another post and another day.

Ripped from vinyl at 320 kbps.

Download from here:

http://www104.zippyshare.com/v/pFGTa3PK/file.html

1. Hypin' Woman Blues
2. Too Much Trouble Blues
3. I Got A Break Baby
4. Mean Old World
5. Bobby Sox Blues
6. I Know Your Wig Is Gone
7. T-Bone Jumps Again
8. Call It Stormy Monday
9. You're My Best Poker Hand
10. First Love Blues
11. She's My Old Time Used To Be
12. On Your Way Blues
13. I Wish You Were Mine
14. Wise Man Blues
15. Born To Be No Good
16. T-Bone Shuffle

“I Got A Break Baby” and “Mean Old World” were recorded in Hollywood on July 20th, 1942, with Freddie Slack and His Orchestra, rhythm section only. Freddie Slack (p); Jud De Naut (b); Dave Coleman (d)

“Bobby Sox Blues” aka “Bobby Sox Baby” was recorded in Hollywood on September 30th, 1946 with the Jack McVea All Stars. Joe “Red” Kelly (tp); Jack McVea (ts); Tommy “Crow” Khan (p); Frank Clarke (b); Rabon Tarrant (d)

“I Know Your Wig Is Gone,” “T-Bone Jumps Again” and “Call It Stormy Monday” were recorded in Hollywood on September 13th, 1947. Teddy Buckner (tp); Bumps Myers (ts); Lloyd Glenn (p); Arthur Edwards (b); Oscar Lee Bradley (d)

“She’s My Old Time Used To Be” and “Too Much Trouble Blues” were recorded in Los Angeles on November 6th, 1947. “Hypin’ Woman Blues” and “On Your Way Blues” were recorded in Los Angeles on November 7th, 1947. Teddy Buckner (tp); Bumps Myers (ts); Willard McDaniel (p); Billy Hadnott (b); Oscar Lee Bradley (d)

“First Love Blues” was recorded in Los Angeles on November 12th, 1947. George Orendorff (tp); Bumps Myers (ts); Willard McDaniel (p); Billy Hadnott (b); Oscar Lee Bradley (d)

“T-Bone Shuffle” was recorded in Los Angeles on November 13th, 1947. George Orendorff (tp); Bumps Myers (ts); Willard McDaniel (p); John W. Davis (b); Oscar Lee Bradley (d)

“Wise Man Blues” and “I Wish You Were Mine” were recorded in Los Angeles on December 17th, 1947. “Born To Be No Good” was recorded in Los Angeles on December 18th, 1947. Jack Trainor (tp); Bumps Myers (ts); Willard McDaniel (p); Billy Hadnott (b); Oscar Lee Bradley (d)

“You’re My Best Poker Hand” was recorded in Los Angeles on December 29th, 1947. George Orendorff or Jack Trainor (tp); Bumps Myers (ts); Willard McDaniel (p); Billy Hadnott (b); Oscar Lee Bradley (d)

Sources:

Mark Humphrey – liner notes to the Capitol Blues Collection 3CD set “T-Bone Walker: The Complete Capitol / Black & White Recordings”

Helen Oakley Dance – “Stormy Monday: The T-Bone Walker Story”

Robert Pruter and Robert L Campbell - "The Rhumboogie: the rise of a great black and tan" in Blues and Rhythm, number 190, June 2004

Bill Millar – “Let The Good Times Rock!”

Albert McCarthy – Big Band Jazz

The Bruyninckx Discography

Arnold Shaw: Honkers And Shouters

Big Al Pavlow’s R&B Book

Cliff White: sleevenotes to Charly LPs “The Natural Blues” and “Plain Ole Blues.”

Mo’ T-Bone:

“The Complete Capitol / Black & White Sessions” – a 3CD set issued in the Capitol Blues Collection series in 1995. It includes the 48 recordings made for Black & White in 1946 and 1947, the 2 recordings with Freddie Slack for Capitol from 1942, and “T-Bone Blues” made with the Les Hite band for Varsity in 1940. There are 75 tracks in total on this set with the balance being made up of alternate takes of many of the Black & White tracks. Immaculate packaging and sound quality. Indispensable but almost impossible to find.

You might have a better chance of finding the Proper 4 CD set “The Original Source” which has 90 tracks recorded between 1930 and 1951.