"Bubbapalooza" Vol. 1 Chronicle of the Redneck Underground 1995

Here’s an old out of print album for you, and a rare one at that. Bubbapalooza was an annual concert held in Atlanta, GA and was organized by Gregory Dean Smalley. Now you may be wondering who Gregory Dean Smalley is, and some of you big DBT fans may even know. I’ll get to who he is in a minute, but first more about this album. Now back in the early to mid 90’s there was a scene around the Atlanta and Athens areas of Georgia that was dubbed (by Deacon Lunchbox) the “Redneck Underground”. See this was back before anyone knew what to call this type of music, so there were all kinds of names floating around…..”no depression”, “insurgent country”, “redneck underground”, “cow punk”, etc… Anyway, the Redneck Underground specifically included bands from Athens, Atlanta, and Chapel Hill, NC (which had it’s own killer scene back then). So in 1995 Gregory Dean Smalley decided they needed a festival… ..and what better name than Bubbapalooza… ..a play on the then new and still credible Lollapalooza. This is the recording of that first festival.
Now you’ll see a couple familiar names here… ..mostly Scott Miller (pre V-Roys) and Southern Culture On The Skids. But there are others here like Kelly Hogan who was in Deacon Lunchbox’s band. Oh, and Gregory Dean Smalley… .who I promised I would get to. I’m sure alot of you have heard of him, he is the subject of DBT’s song “The Living Bubba” and this album is one of his few recorded moments with his band “The Diggers”. - A Truer Sound

trax:
1. Loweena, The Urban Redneck Queen - Deacon Lunchbox 2. Fakin' It - The Vidalias 3. Mama Was a Dancer at the Clermont Lounge - Redneck Greece Delux 4. George Jones (Has Never Sung About My Girl) - Slim Chance & The Convicts 5. Can't Find a Place to Stay - Steam Donkeys 6. Outta Town - Jennie B. & The Speedbillies 7. Rockabilly Show - The Blacktop Rockets 8. 2 Pigs In A Blanket / She's My Little Biscuit Eater - Southern Culture on the Skids 9. Cabbagetown - The Delta Angels 10. Napoleon - Scott Miller 11. Candy Kisses - Greasetrap 12. She's Breakin' My Heart (While I'm Drinkin' Her Beer) - The Diggers

BILLY JACK WILLS & His Western Swing Band "There's Good Rockin' Tonight"

Perhaps the most underrated Western swing bandleader ever was Billy Jack Wills, the youngest brother of Bob, whose Western Swing Band broke new ground for the genre in the early '50s. Born February 26, 1926, in Memphis, Hall County, TX, Billy Jack was exposed at an early age to the music of his famous brother, as well as his father, champion fiddler John Wills. After beginning his professional career in brother Johnnie Lee Wills' Tulsa band in the early '40s, Billy Jack went to California to work as a bassist and drummer for the Texas Playboys. In that group, he played a significant role both as a vocalist and songwriter, lending his bluesy voice to "Cadillac in Model A" and providing lyrics to the massive hit "Faded Love."
After six years as a member of the Texas Playboys, Billy Jack got his chance as a leader when Bob moved his base of operations from the Wills Point Ballroom in Sacramento to Oklahoma City. Tired of touring, mandolinist Tiny Moore stayed behind to manage Wills Point. Needing a new band to fill the void left by Wills' departure, Moore suggested Billy Jack. Bob agreed, and Moore and Billy Jack assembled a band that included trumpeter and bassist Dick McComb, fiddler/bassist Cotton Roberts, rhythm guitarist Kenny Lowery, and steel guitarist Tommy Varner. The group, dubbed Billy Jack Wills & His Western Swing Band, began broadcasting over Sacramento's KCRA radio in 1950, soon moving to the considerably larger KFBK.
The band truly came into being, however, after the start of the Korean War. Looking to replace the drafted Varner, Wills hired a local teenager named Vance Terry, a disciple of Noel Boggs whose crisp, driving style added the final element to the group's adventurous sound.
The enormous age difference (20 years) between Billy Jack and Bob meant that the younger's musical interests were considerably more advanced. While Bob had drawn inspiration from the primitive blues and jazz of the 1910s and '20s, Billy Jack's muse lay in the developing genres of jump blues, R&B;, and be-bop. These fixations gave his group a progressiveness that was found nowhere else, characterized by its hard-swinging jazz rhythms and bluesy, shouted vocals, which drew heavily from the styles of Wynonie Harris and Roy Brown. Between 1950 and 1954, the group enjoyed a strong Northwest following, touring and building up an eclectic repertoire of radio transcriptions. They covered many of the popular black hits of the time, including Ruth Brown's "Teardrops From My Eyes" and Larry Darnell's "For You, My Love." In 1953, the group cut a version of Roy Brown's "There's Good Rocking Tonight"; later that year, they turned in a rollicking arrangement of Bill Haley's first hit, "Crazy, Man, Crazy." (All Music Guide)

trax:
01 Rock-A-Bye Baby Blues 02 Bottle Baby Boogie 03 She's A Quarter Horse Type (Of A Gal) 04 Cadillac In Model 'A' 05 Out Of Gas 06 I Don't Want To Live Alone 07 Teardrops On A Diary 08 For The Children's Sake 09 There's Good Rockin' Tonight 10 Red Mittens 11 Hey Lula (Hey Lu-La) 12 Four Beers And Forty Tears 13 All She Wants To Do Is Rock 14 When A New Love Is Born 15 Hey Mr. Mailman 16 I Loved And Lost 17 My Shoes Keep Walkin' Back To You 18 Will You Miss Me When I'm Gone 19 Troubles (Those Lonesome Kind) 20 Not Very Long 21 Cadillac In Model 'A' (KFBK Transcription) 22 Blues For You, My Love (KFBK Transcription) 23 Lonesome Hearted Blues (KFBK Transcription) 24 Rock-A-Bye Baby Blues (KFBK Transcription) 25 Milkcow Blues (KFBK Transcription) 26 Lonesome Hearted Blues With Bob Wills (Presto Transcription) 27 Roped And Tied
...served by Gyro1966...

"GRAINS OF TIME" Ultra Rare U.S. Sixties Garage 45’s VA (kustom-65 release)

Tracks compiled on this killer 1960's 45RPM comp are so rare they`re bleedin`. Most 45s in their original condition go for upwards of $300 (and much more) a piece so to get `em on one release is great value in anybody`s language. 27 U.S. garage rarities in total with details about the bands in the booklet.trax:
1. The Fabulous Bachelors - Not Like She 2. Renegades - She's Your Find 3. Sounds Unlimited - Why Doesn't She Believe Me 4. The Wyld - Alley Oop 5. The Grains Of Time - No Matter What They Say 6. 8th Wonders Of The World - Who Cares 7. Dick Curtis - It's Not The Same 8. Catsanovas - I Want To Be Loved 9. Delirium - Never Comin Home 10. Try-Angle - Com'ing Home 11. Caesar & His Romans - Black Lantern 12. The Grotesque Mommies - One Night Stand 13. Huns - You Know 14. Jerry & The Playmates - Want-A-Love You 15. The Night Mist - Last Night 16. The Pedestrians - It's Too Late 17. The Falcons - I Gotta See Her 18. The Original Sinners - You'll Never Know (What Love Is All About) 19. The Abstrack Sound - Judge Him If You Can 20. Reasons Why - Nighttime-Daytime 21. Thee Saints & The Prince Of Darkness - Running Away From You 22. Tommy Thompson And CHP. #17 - Beggar Man 23. Wild-Ones - Just Me 24. The Pulsating Heartbeats - Anne 25. Oxford 5 - The World I've Planned 26. The Citations - Now I'm Gone 27. Georgy & The Velvet Illusions - Hippy Town
...served by Gyro1966...

Sonny Burgess With Dave Alvin "Tennessee Border" 1992

"...hot-wired, bluesy rockabilly...as fiery and alive as any `modern' record you might put it up against. Alvin is as smoking on the 6-string as he's ever been, and Burgess' weathered vocals are in fine form..." - Option (Nov.-Dec./92, p.102)Sonny Burgess was part of rockabilly's first generation, recording for Sun Records in the 1950s, but even in the '90s he was still capable of tearing it up. This '92 recording shows a sexagenarian Burgess still breathing fire on hardcore rockabilly tracks where he's ably backed by--among others--guitarist Dave Alvin, formerly of the Blasters. There's no audible softening of Burgess's hard-driving sound here, just raw rock & roll in its purest form. - cduniversePersonnel:
Sonny Burgess (vocals, guitar); Dave Alvin, Jerry Miller (guitar); Dick Bachmann (steel guitar); Steve Burke (piano); Rory McLeod (acoustic bass); Doug Hinman (drums)

trax:
01 Tennessee Border 02 Enough Of You 03 My Heart Is Achin For You 04 Flattop Joint 05 As Far As I Could Go 06 Old Old Man 07 Automatic Woman 08 There's Talk In Your Sleep 09 Stuck Up 10 I don't Dig It

LONNIE JOHNSON "The Chronological 1949-1952 Classics"

New Orleans native Lonnie Johnson first appeared on record in 1925 with Charlie Creath and participated in a series of outstanding classic jazz and blues sessions at the close of the tumultuous '20s in the company of Eddie Lang, Louis Armstrong, and Duke Ellington. Over the years Johnson waxed an enormous number of records for the OKeh, Bluebird, Decca, Disc, and Aladdin labels, finally establishing himself as a smooth blues crooner with the King record company in Cincinnati from 1947 to 1952. While many of his OKeh blues recordings are almost indistinguishable from each other, Johnson's more mature performances for King used a small but sturdy set of stylistic variables that are demonstrated on this interesting compilation of recordings he made between November 1949 and June 1952. Lonnie Johnson sang sweetly with just the right amount of vibrato and a touch of grit. His "Little Rockin' Chair" brings to mind the noble integrity of Kansas City's Big Joe Turner. "Nothin' Clickin' Chicken" taps into a lighthearted jump groove worthy of Tampa Red or Washboard Sam. Many of the slower tunes, including "Old Fashioned Love," have a rich and creamy quality that owes something to Johnson's sweet slow dance sensation of 1948, "Tomorrow Night." Many of his King performances in fact open with the same measured strumming chords that characterized that number one R&B; hit. Johnson's 1951 recordings are pleasantly fortified by tenor saxophonists Ray Felder, Eddie Smith, and Wilbur "Red" Prysock, complementing Johnson's vocal most effectively. Some of Johnson's material from this period crosses over into country music territory, represented here by a pair of tunes by the Delmore Brothers, "Troubles Ain't Nothing But the Blues" and the haunting "Blues Stay Away from Me." This tasty survey closes with the unusually full-bodied session of June 3, 1952. Here Johnson is backed by trumpet, three tough saxes, and a kicking rhythm section headed by pianist Todd Rhodes. Among the many Lonnie Johnson retrospectives on various reissue labels, this volume in the Classics Chronological Series stands with the very best. (All Music Guide)

trax:
01 Troubles Ain't Nothing But The Blues (11-29-49) 02 Confused (11-29-49) 03 I'm So Afraid (11-29-49) 04 Blues Stay Away From Me (11-29-49) 05 I'm So Crazy For Love (09-14-50) 06 Nobody's Lovin' Me (09-14-50) 07 Little Rockin' Chair (09-14-50) 08 Nothin' Clicken' Chicken (09-14-50) 09 Nothin' But Trouble (09-20-50) 10 Old Fashioned Love (09-20-50) 11 When I'm Gone (09-20-50) 12 What Do You Want That I'Ve Got, Pretty Baby (09-20-50) 13 Why Should I Cry (02-26-51) 14 It Was All In Vain (02-26-51) 15 You Only Want Me When You'Re Lonely (02-26-51) 16 Take Me I'M Yours (02-26-51) 17 Darlin' (10-26-51) 18 My Mother'S Eyes (10-26-51) 19 Me And My Crazy Self (10-26-51) 20 Seven Long Days (10-26-51) 21 I'm Guilty (06-03-52) 22 Just Another Day (06-03-52) 23 You Can'T Buy Love (06-03-52) 24 Can't Sleep Anymore (06-03-52)
...served by Gyro1966...

HANK BALLARD & THE MIDNIGHTERS / THE ROYALS "The Chronological Classics 1952-1954"

Once upon a time there was a mild-mannered Detroit vocal group called the Royals. Legend has it Jackie Wilson and Levi Stubbs (famous years later as one-fourth of the Four Tops) sang with the Royals prior to their discovery by Johnny Otis at the Paradise Theater in 1951. This Hank Ballard & the Midnighters collection in the Classics Chronological Series includes 12 selections recorded in 1952 for Federal Records in Cincinnati; these numbers reflect the Royals' early sentimental ballad aesthetic as well as their kicking rocker approach, first implanted by guest vocalist Wynonie Harris on "All Night Long" and revisited by Alonzo Tucker on "I'll Never Let Her Go." The addition of a panting hot saxophone (with either Robert Darby or Percy France blowing hot like Hal Singer) and a toothier rhythm section (Bill Doggett's band rocked and rolled behind the singers on "Are You Forgetting?") signaled a move toward looser and more sexually charged material. When Ballard replaced lead vocalist Henry Booth in 1953, that evolution was accelerated. Ballard, whose main inspiration seems to have been Clyde McPhatter, was born John Henry Kendricks on November 18, 1927. Ballard had a penchant for pleasantly smutty music with a danceable beat. Alonzo Tucker was assigned the lead vocal on "Get It," this group's first Billboard R&B; hit. From here on out even the slower numbers always had a little extra kick to them, and a twangy guitar began to predominate in between juicy blasts from the saxophone. Seeking to avoid being confused with the "5" Royales, the group changed its name to the Midnighters during the summer of 1953. "Work with Me Annie," recorded in January of 1954, is still considered by some to be the greatest record this group ever made. Maybe it was the way Robert Boswell's percussion simulated the sound of a mattress being repeatedly compressed, or the singers' urgent depiction of young people desperate to get their rocks off. Something made this record irresistible and Hank Ballard & the Midnighters were hot stuff for a little while. The inevitable sequels followed suit, most blatantly the knockup classic "Annie Had a Baby," but this group's heyday was relatively short-lived. In some ways their best material is chronologically presented on this compilation. (All Music Guide)

trax:
01 I Know I Love You So 02 Starting from Tonight 03 Every Beat of My Heart 04 All Night Long 05 I'll Never Let Her Go 06 Moon Rise 07 A Love in My Heart 08 5th Street Blues 09 The Shrine of St. Cecilia 10 I Feel So Blue 11 Are You Forgetting? 12 What Did I Do? 13 Get It 14 No It Ain't 15 That's It 16 Hello Miss Fine 17 Someone Like You 18 I Feel That-A-Way 19 That Woman 20 Work with Me Annie 21 Until I Die 22 Give It Up 23 Sexy Ways 24 Don't Say Your Last Goodbye
...served by Gyro1966...

Mark Brodie & the Beaver Patrol "The Shores of Hell" 1995

There aren't enough stars for this one on a scale of one to five, this rates a 9-1/2......I have raved about Mark's singles, and boasted of holding my breath until the CD came, but I was unprepared for just how gorgeous it would be. The CD contains the tracks from the two singles, plus a pastel of new stuff that just rips. As I suspected, the quality of performance audible on vinyl only hints on how good it sounds on CD. Mark Brodie is turning out to be one of the great writers of modern surf instros. Like Rick Escobar of the Woodies, Mark has an understanding of the structure of the great trad surf tunes, and a knack for creating new tunes and arrangements that sound as though they could have been written in '63, and are at the same time fresh and new sounding. There are a couple of tracks that use a keyboard, and I'm glad it's only a couple, because it really doesn't work well. With Mark's style being so pure, piano a la Dave Myers or the Chantays would work if he has a need to embellish with keys. The recordings are very consisted aurally track to track, with a few exceptions. The sound is so good, that I wanna know what's going on in the control room. There is that vintage "play quiet and I'll make it come out loud" sound coexisting with modern pristine methods. The resulting combination of Mark's writing, his playing style, the sound of his guitar & amp, the studio & mastering is an order of magnitude above most recordings I've heard in the last few years. What this all means is that this is one hell of a great CD. Mark is backed up by fellow British Columbian surfnaught Ralph Johnston (Ralph & the Garage Surfers / Fridge Magnets / Surfdusters w/ Rich Hagensen of Live Wire magazine) on bass, and Ed Frey on drums. - Phil Dirt at Reverb Centraltrax:
1. Frogs Can't Surf 2. Jezebel 3. Scratch 4. Bitch Stole My Board 5. Death At Mile Zero 6. Wedgie 7. Day The Surf Stood Still 8. Spin Cycle 9. Banzai Rider 10. Scarlett O'Hara 11. Theme From The Old West 12. Bad Hair Day 13. Suicide Ride 14. Meltdown 15. Phantom Wave 16. The Shores Of Hell
…originally served by Teisco...

Sarah McLawler "The Chronological 1950-1953 Classics"

Born in Louisville, Kentucky, Hammond B-3 organist Sarah McLawler was raised in the church with gospel music. She studied organ at an Indiana Conservatory. Influenced heavily by the music of the big bands, McLawler used to sneak into clubs in Indianapolis to hear Lucky Millinder's big band. She ended up going on the road with the bandleader, and later formed an ahead-of-its-time all-woman band, the Syn-Co-Ettes. They spent some time as a house band at Chicago's Savoy Club.
After meeting Richard Otto, a classical violinist who liked to play jazz, at a residency at a Brooklyn club, she married him and the two spent years touring and recording together. As fixtures on the New York jazz scene in the 1950s, they became friends with the likes of Milt Jackson, Errol Garner, Dinah Washington, Cab Calloway, Nat Cole, Tony Bennett, Sammy Davis, Jr. and others. Washington was so taken with her playing, she once offered to be her manager.
McLawler's singles for the King and Brunswick labels, recorded in the 1950s, are now collectors' items, and they include sides like "I Can't Stop Loving You" "Love, Sweet Love," both for King, as well as "Red Light" "Tipping In" "Let's Get the Party Rocking" and "Blue Room." Her recordings with violinist Otto include "Somehow," "Yesterday" "Body & Soul" for Brunswick, and "Babe in the Woods" "Relax, Miss Frisky" "Flamingo" "Canadian Sunset" and "At the Break of Day" for Vee-Jay. (All Music Guide)

trax:
01 My Whole Life Through (1950) 02 It's The Truth, So Help Me (1950) 03 I Can't Stop Loving You (09-28-51) 04 Love Sweet Love (09-28-51) 05 I Gotta Have You (09-28-51) 06 I Need You Now (09-28-51) 07 Please Try To Love Me (05-21-52) 08 I'm Just Another One In Love With You (05-21-52) 09 Ready, Willin' And Able (05-21-52) 10 Romance In The Dark (05-21-52) 11 Your Fool Again (03-18-53) 12 I'm Tired Cryin' Over You (03-18-53) 13 Foolin' Myself (03-18-53) 14 Blues For Rex (03-19-53) 15 Red Light (04-03-53) 16 You're Gone (08-18-53) 17 Yesterdays (08-18-53) 18 Body And Soul (08-18-53) 19 Somehow (08-18-53)
...served by Gyro1966...

"ROCKIN' BOPPIN' DUOS"

25 rockin' tracks from duos of the 1950s. A great collection with lots of Rock 'n' Roll and Rockabilly rarities, and sexy cover design too.trax:
1. you're right, i'm left - The Brown Brothers 2. lovin' honey - The Barker Brothers 3. dungaree cutie - Mike & Jim 4. no more cryin' the blues - Alton & Jimmy 5. check-mated and bingoed - Billy & Don Hart 6. shorty shorty - Bob & Ray 7. blue blue day - The Wilburn Brothers 8. i'm in a whirl - The Deuces Wild 9. midnight monsters hop - Jack & Jim 10. don't call me baby, i'll call you - The Teen Tones 11. (my gal is) red hot - The Carroll Brothers 12. this is it - The Paris Brothers 13. done gone - George & Earl 14. hi ho little girl - The Terrigan Brothers 15. bye bye - The Duals 16. romeo joe - The Skee Brothers 17. ubangie stomp - The Velaires 18. oh baby!! - Harvey & Doc 19. lazy susan - The Brothers 20. rockin' party - The Maddy Brothers 21. claudette - The Everly Brothers
...served by Gyro1966...

Pardon Us for Living but the Graveyard Is Full!

HAVE A GREAT XMAS WITH THE FLESHTONES!
RYP
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WALTER BROWN "The Chronological 1947-1951 Classics"

Less than a week after Walter Brown began singing with Jay McShann's orchestra, the band traveled from Kansas City to a recording studio in Brown's hometown of Dallas, TX, where McShann and his rhythm section backed the singer on "Confessin' the Blues." It became one of the best-selling records of 1941 and would ultimately define Brown's entire career while inadvertently exerting a circumstantial influence upon the development of modern jazz. Here's how it all happened: In 1941 and 1942 Dave Kapp, owner of Decca Records, had convinced himself that Kansas City big band instrumentals wouldn't sell. He pressured McShann into recording lots of accessible blues numbers with vocals by Walter Brown or Al Hibbler. It was largely money from these popular recordings that enabled McShann to bring his band to New York in 1942, placing Charlie Parker at the center of the jazz scene and thereby accelerating the music's evolution. Meanwhile Walter Brown, addicted like Parker to alcohol, amphetamine, and narcotics, worked only intermittently with McShann during 1942-1943, and by 1944 was pursuing a career as a solo act. This compilation contains the first recordings he made under his own name, in New York City on December 19 and 20, 1945. They originally appeared on the Queen label, a subsidiary of King Records. Still banking on his initial success, the singer was billed as "Walter (Confessin' the Blues) Brown" and was backed by a 16-piece band led by pianist Archie "Skip" Hall. Brown's next (and last) session for Queen occurred in Cincinnati in July of 1946, with excellent support provided by an octet with a frontline of trumpet, trombone, and two tenor saxes. None of these records represent any earthshaking artistic innovations. That's not what Walter Brown was about. This was good-time music, fast becoming known as "rhythm and blues," meaning that it was based in blues and good for dancing. From a jazz head's perspective, the most exciting material in this package features the Tiny Grimes Sextet -- with John Hardee blowing tenor sax -- backing Walter Brown on four sides recorded in 1947 for Bob Thiele's tiny Signature label. "I'm Living for You" is in fact more of a jazz ballad, representing a rare departure from Brown's customary blues formula.(All Music Guide)

trax:
01 W. B. Blues 02 Sloppy Drunk 03 Lovin' A Beggar 04 Just Thinkin' 05 Play The Blues 06 What Evil Have I Done 07 Gonna Play With Your Woman 08 Work Don't Bother Me 09 Inform Me Baby 10 Lyin' Woman Blues 11 Suppressin' The Blues 12 Hello And Goodbye 13 You Better Leave My Woman Alone 14 You, Cindy Lou 15 Squabblin' Woman 16 I'm Gonna Get Married 17 New Style Baby 18 Let's Love Awhile 19 Nasty Attitude 20 Slow Down Baby 21 The Search 22 A B C Blues
...served by Gyro1966...

STICKS MCGHEE "The Chronological 1947-1951 Classics"

Back in 1942 when Private Granville Henely "Sticks" McGhee was in boot camp, he heard a pack of recruits singing a rowdy song about getting loaded. The obscene refrain went something like this: "Drinkin' wine, motherf*cker, drinkin' wine." After surviving war wounds in the Pacific, he made his way to New York with his big brother guitarist Brownie McGhee. Drawing upon important lessons learned in basic training, Sticks concocted his own arrangement of the wine song and recorded it with Brownie in 1947. Released on the Harlem record label, this scruffy little number sold poorly and was soon deleted from the Harlem catalog by the label's owner, J. Mayo Williams. Sometime during 1948, someone started playing McGhee's song over the radio in New Orleans, and soon the McGhee brothers had a hit record on their hands with virtually no copies to sell. On Valentine's Day 1949, a second, slicker version was recorded for the Atlantic label with piano and bass accompaniment by Wilbert "Big Chief" Ellis and Kansas City bass ace Gene Ramey. Williams then sold the original recording to the people who ran the Decca label. They in turn reissued it in an unsuccessful attempt to compete with the Atlantic hit. Today it's good to have both versions on the same disc, and some may actually prefer the modest first recording over the hit single. Note that in 1947 Sticks sets the action in Petersburg, whereas once a market had cropped up in the Crescent City, he adapted the opening line to refer to New Orleans specifically. Note also that Sticks was not a drummer, as his nickname might imply. As a boy, Granville maneuvered his brother Brownie -- crippled by the poliovirus -- through the streets of Kingsport, TN, in a cart, using a large wooden stick to push him along. As a professional musician Sticks strummed twangy guitar and sang in a robust voice. When he wasn't cutting up and making references to everyday life with its many opportunities for misbehavior, Sticks could sing quite pleasantly, as he does on "Blue and Brokenhearted." Inevitably he cooked up another jump tune based on the "Spo-Dee-O-Dee" formula: "Drank Up All the Wine Last Night" is just as much fun but didn't sell nearly as well. Neither did "One Monkey Don't Stop the Show" although Big Maybelle's meaty version must have provided him with royalties. The only Sticks McGhee record that made as big of a splash as the Atlantic "Drinkin' Wine" was a handsome 1950 instrumental rhythm & blues version of "Tennessee Waltz" beefed up with soulful tenor sax, groovy piano, and electric guitar. After violating his contract with Atlantic by making two sides for the London label in 1951, Sticks was chucked from Atlantic's roster and would spend the next decade recording for Essex, King, Savoy, and Herald. Smitten by lung cancer he was only 44 when he died in the Bronx Veteran's Hospital in August of 1961.(All Music Guide)

trax:
01 Drinkin' Wine, Spo-Dee-O-Dee, Drinking Wine 02 Baby Baby Blues 03 Drinkin' Wine, Spo-Dee-O-Dee 04 Tall Pretty Woman 05 Lonesome Road Blues 06 Blues Mixture 07 I'll Always Remember 08 Blue And Brokenhearted 09 My Baby's Comin' Back 10 Drank Up All The Wine Last Night 11 Venus Blues 12 Southern Menu 13 Let's Do It 14 She's Gone Rock Away Blues 15 House Warmin' Blues 16 Blue Barrelhouse 17 One Monkey Don't Stop The Show 18 Tennessee Waltz Blues 19 You Gotta Have Something On The Ball 20 Oh What A Face
...served by Gyro1966...

WILLIS "GATOR TAIL" JACKSON "Later For The Gator"

With his raw, jump blues-inflected tenor sax style, full of all manner of honks and squeals delivered at maximum force, Willis "Gator" Jackson was never less than exciting as he walked the line between the worlds of jazz and R&B; during his career. This generous set features Jackson with the Cootie Williams Orchestra (including Jackson's signature "Gator Tail"), the Bobby Smith Orchestra, heading up a few tracks on his own as bandleader, and supporting his then-wife Ruth Brown on a trio of blues tracks. It's a delightful anthology, full of Jackson's obvious joy at making music. Highlights include the two-part "Gator Tail," the after hours "More Blues at Midnight" (which shows Jackson could blow straight jazz when he choose to do so) and the huge-sounding "Gator's Groove," which prefigures the organ groups that would occupy Jackson's attention in the latter stages of his career. A fun and joyful set. (All Music Guide)

trax:
1. Gator Tail -Pt. 1 - The Cootie Williams Orchestra 2. Gator Tail - Pt. 2The Cootie Williams Orchestra 3. Let 'em Roll - The Cootie Williams Orchestra 4. Doin' The Gator Trail - The Cootie Williams Orchestra 5. On My Own - Willis Jackson 6. Chuck's Chuckles - Willis Jackson 7. Can't Help Lovin' Dat Man - Willis Jackson 8. Dance Of The Lady Bug - Willis Jackson 9. Gonna Hoot And Holler Saturday Night - Eddie Mack W/ Bobby Smith Orch. 10. Cool Mama - Eddie Mack W/ Bobby Smith Orch. 11. Blow Jackson Blow - Willis Jackson 12. More Blues At Midnight - Willis Jackson 13. Later For The Gator - Willis Jackson 14. That Call Of The 'gators - Willis Jackson 15. Steam Roller Blues - Eddie Mack W/ Cootie Williams Orch. 16. Beauty Parlor Gossip - Eddie Mack W/ Cootie Williams Orch. 17. 'gator's Groove - Willis Jackson 18. Harlem Nocturne - Willis Jackson 19. Rock! Rock! Rock! - Willis Jackson 20. Wine-O-Wine - Four Gators 21. Good Gliding (Aka 'gator's Got To Go) - Willis Jackson 22. Street Scene (Aka Sentimental Rhapsody) - Willis Jackson 23. Estrellita - Willis Jackson 24. R B Blues - Ruth Brown 25. Daddy Daddy - Ruth Brown 26. The Tears Keep Tumbling Down - Ruth Brown
...served by Gyro1966...

"THE JAGUAR RECORDS STORY"

Hard to find collection of obscure R&B from this New York City based label that operated from 1954-1957.trax:
1. Trust In Me - Four Brothers & A Cousin 2. Whistle Stop Blues - Four Brothers & A Cousin 3. Can It Be - Four Brothers & A Cousin 4. Whispering Wind - Four Brothers & A Cousin 5. I Won't Tell A Soul - The Volumes 6. Gotta Feed The Horses Lotta Hay - The Volumes 7. So Dissapointed With Love - Lacille Watkins & Volumes 8. You Left Me Lonely - Lacille Watkins & Volumes 9. Sentimental Journey - The Bey Sisters 10. Sugar Cookie - The Bey Sisters 11. Rendezvous - The Carousels 12. Drive In Movie - The Carousels 13. Alone - The Ivories 14. Baby, Send A Letter - The Ivories 15. Alone - 2 - The Ivories 16. Baby, Send A Letter - 2 - The Ivories 17. Yum Yum - Lee Thomas & The Don Juans 18. Baby, Don't You Care - Joe Weaver & The Bluenotes 19. Do You Wanna Work Now - Joe Weaver & The Bluenotes 20. Lazy Susan - Joe Weaver & The Bluenotes 21. Gotta Gotta Get Cha - Little - Walkin' Willie & The Bluesmen 22. Blow, Little Willie, Blow - Little Walkin' Willie & The Bluesmen 23. I Want A Man For Christmas - Joan Shaw 24. Fly Away Heartaches - Joan Shaw 25. I Shouldn't Be Alone So Long - Joan Shaw 26. The Ten Commandments Of Love - Joan Shaw 27. I'm Glad You're Leaving Me - Dorothea Fleming 28. The Devil Is Mad - Dorothea Fleming
...served by Gyro1966...

JEAN WELLS "Soul On Soul"

b. 1 August 1942, West Palm Beach, Florida, USA, and raised in Belgrade, Florida. Wells began singing in gospel groups as a child, and established herself as a secular singer in the early 60s performing in clubs in Philadelphia. She made her recording debut in 1959, and several other singles, but it was not until she was discovered by producer Clyde Otis that her career took off. He arranged for her to be signed to the New York-based Calla Records in 1967 and she immediately had success with the splendid 'After Loving You' (number 31 R&B;). Two other excellent records followed that year, 'I Feel Good' (number 33 R&B;) and 'Have A Little Mercy' (number 25 R&B;), B-sided by the Northern Soul stomper 'With My Love and What You've Got'. Her last chart record was in 1968, and later attempts at recording with other companies were unsuccessful commercially and perhaps artistically, never equalling the thrilling intensity of her Calla singles. It is a great pity that such a great soul voice has such a meagre catalogue. (Soul Sisters)

trax:
01 Have A Little Mercy 02 I'll Drown In My Own Tears 03 After Loving You 04 Sit Down And Cry 05 Ease Away A Little Bit At A Time 06 Our Sweet Love Turnded Bitter 07 Somebody's Been Loving You (But It Ain't Been Me) 08 Keep Your Mouth Shut And Your Eyes Open 09 If You've Ever Loved Someone 10 Broomstick Horse Cowboy 11 I Couldn't Love You (More Than I Do Now) 12 I Feel Good 13 With My Love And What You've Got (We Could Turn This Word Round) 14 Keep On Doin' It 15 Take Time To Make Time For Me 16 Try Me And See 17 Roll Up Your Sleeves, Come Out Lovin' (Winner Takes All) 18 What Have I Got To Lose 19 Puttin' The Best On The Outside 20 He Ain't Doing Bad 21 Hello Baby, Goodbye Too
...served by Gyro1966...

TEX WILLIAMS "On The Air 1947-1949" Western Swing From South California

Although not nearly as well-known as figures like Bob Wills, the Maddox Brothers, and Merle Travis, Tex Williams was an important Western swing performer. Like all of the aforementioned musicians, he helped develop country music from its rural, acoustic origins to a more danceable, city-fied, and electrified form with a much wider popular appeal. At his peak in the late '40s, he also recorded some of the most enjoyable country swing of his time, distinguished by his talking-blues vocal delivery. Much of his style can be heard in the Western swing-influenced recordings of revivalists like Asleep at the Wheel, Commander Cody, and Dan Hicks.
The singer and guitarist caught his first big break after moving to Los Angeles in 1942. At that time California was populated by many former Texans and Oklahomans working in the defense industry, creating a need for Western swing entertainment in a region not noted for country music. One of the musicians on this circuit was fiddler Spade Cooley, who employed Jack Williams as his singer, nicknaming him "Tex" to ensure easy identification by the many Texans in their audiences. Several of Cooley's mid-'40s Columbia singles featured Tex on vocals.
Capitol offered a contract to Williams as a solo artist, which strained the relationship between Tex and the tempestuous Cooley to the breaking point. Cooley fired Williams in June 1946, a move which backfired badly, as most of Cooley's band opted to follow Tex rather than remain with their difficult boss. Cooley achieved his greatest subsequent notoriety when he was convicted of beating his wife to death in a drunken fit in 1961.
Tex's renamed backing band, the Western Caravan, was one of the best units of its kind. Numbering about a dozen members, it attained an enviable level of fluid interplay between electric and steel guitars, fiddles, bass, accordion, trumpet, and other instruments (even occasional harp). At first they recorded polkas for Capitol, with limited success. They found their true calling when Williams' friend Merle Travis wrote most of "Smoke! Smoke! Smoke! (That Cigarette)" for him, emphasizing Tex's talking-blues delivery and heavier boogie elements. The song was a monstrous commercial success in 1947, and indeed one of the biggest country hits of all time, making number one on the pop charts.
That set the model for several of Williams' subsequent hits: hot Western swing backup, over which Tex would roll his deep, laconic, easygoing narratives of humorous, slightly ridiculous situations. As enjoyable as these were, they were just one facet of the Western Caravan's talents. The outfit was also capable of generating quite a heat on boogie instrumentals and more straightforward vocal numbers in which Williams actually sang rather than spoke.
Williams' commercial success began to peter out in the early '50s, and he left Capitol in 1951. He continued to record often in the 1950s, mostly for Decca, without much success; in 1957, the Western Caravan disbanded. He pressed on, however, returning to Capitol in the early '60s, and recording a live album that included Glen Campbell on guitar. He had one final country hit, the memorably titled "The Night Miss Ann's Hotel for Single Girls Burned Down," which entered the Top 40 in 1971. 9All Music Guide)trax:
01 Theme_ Smoke Smoke Smoke (short) 02 What's The Matter With You 03 Texas Playboy Rag 04 Don't Telephone, Don't Telegraph 05 Spanish Two Step 06 Spanish Fandango 07 Palace Stomp 08 Careless Love 09 Don't Come Crying To Me 10 San Antonio Rose 11 Theme_ Smoke Smoke Smoke 12 The Covered Wagon Rolled Right Along 13 I Found a New Baby 14 Brush Those Tears From Your Eyes 15 Who Clipped Samson's Hair 16 Swanee River 17 Careless Love (2) 18 Caravan Ride 19 Riverside Stomp 20 One O'Clock Jump 21 Steel Guitar Rag 22 Please Don't Leave Me Any More 23 Three Way Boogie 24 She's A Real Gone Oakie 25 South 26 Theme_ Smoke Smoke Smoke
...served by Gyro1966...

"MERCURY ROCKABILLIES" Louisiana Rock 'n' Roll

Great collection of late 50's Rock 'n' Roll from the Louisiana area! (liner notes in download)trax:
1. Flip Flop Mama - Eddie Bond & His Stompers 2. Boppin' Bonnie - Eddie Bond & His Stompers 3. You Nearly Lose Your Mind - Roy Moss 4. You're My Big Baby Now - Roy Moss 5. That's My Reward - Billy Wallace & The Bamba Drifters 6. Mean Mistreatin' Baby - Billy Wallace & The Bamba Drifters 7. Burning The Wind - Billy Wallace & The Bamba Drifters 8. You're The One That Done It - Thomas Wayne 9. Slip Slip Slippin' In - Eddie Bond 10. Baby Baby Baby, What'm I Gonna Do - Eddie Bond 11. Born To Sing The Blues - Conway Twitty 12. Lonesome Train - Johnny T. Talley 13. I've Changed My Wild Mind - Johnny T. Talley 14. Crazy Blues - J.P. Richardson 15. Draggin' - Curtis Gordon 16. Sittin' On Top Of The World - Curtis Gordon 17. Breaking Up Is Hard To Do - Jivin' Gene & The Jokers 18. Poor Me - Jivin' Gene 19. Go On, Go On - Jivin' Gene 20. I Cried - Jivin' Gene 21. Just A Memory - Rod Bernard 22. Shedding Teardrops Over You - Rod Bernard 23. The Secrets Of Love - Elton Anderson 24. Cool Down Baby - Elton Anderson 25. Mathilda Finally Came Back - Cookie & The Cupcakes 26. A Part Of Everything - Cookie & The Cupcakes 27. All Of My Life - Guitar Junior 28. Love Me, Love Me - Guitar Junior 29. Baldhead - Roy Byrd & His Blues Jumpers 30. Oncoming Train - Rollee McGill
...served by Gyro1966...

Rainer And Das Combo "Barefoot Rock With…" 1994

Dr Hank said... "…Speaking of Rainer Ptacek, you don't happen to have a rip of Rainer And Das Combo's wonderful album Barefoot Rock lying around? In which case you would have my eternal gratitude…"
…and surprise, surprise here it is, served by Alain from France with excellent German writing:
"Guten Abend, hier ist der Link von Rainer. In der Hoffnung, dass alles glatt geht und dass Sie es abrufen und anhören. Mit meinen Regards"Mention the name Rainer Ptácèk to a lover of original contemporary blues or National Steel guitars and there will be an awed silence. Rainer was revered. Rainer died too young of an unoperable brain tumor on November 12, 1997 in Tucson, Arizona. He released four albums during his lifetime: "Worried Spirits" and "Texas Tapes" (originally available on Demon and since deleted) and "Barefoot Rock" and "Nocturnes" (Glitterhouse). His musician friends, including Howe Gelb, Robert Plant, Jimmy Page, Emmylou Harris and Jonathan Richman, released a benefit album of his songs, 'The Inner Flame' (Atlantic), recorded whilst he was still alive and able to participate. All are treasures in my collection. Happiness is that three previously unrelased albums of Rainer's work will be released in 2000.
On 'Barefoot Rock', originally released in 1986 and then re-released in 1994 with four new tracks, Rainer is accompanied by Nick Augustine on bass and Ralph Gilmore on drums on tracks 1-3, recorded in 1992. Tracks 4-14 were recorded in 1985 with Augustine on bass, Will Clipman on drums and produced by Howe Gelb (now of Giant Sand). This is rough-rocking mix of delta and urban blues with tracks as diverse as the opening Mellow Down Easy (Willie Dixon), Around and Around (J.B. Lenoir) The Last Fair Deal (Robert Johnson). Rainer's funky blues groove on his The Unseen Enemy is moodily unsettling, raw and sparse. In Around and Around and That's How Things Get Done, his National Steel guitar is at it's most vibrant, meanwhile all through the album the chugging rhythm section punches it forward. It may be white blues but It's gritty and edgy and Rainer's voice, not known for it's clarity, is ideosynchratic and perfect for what he's saying. It's impossible for me not give give Rainer five stars. His collected works will stand as a landmark for a man who quietly lived the blues and by doing so influenced all those whose path he crossed. - By S. D. Cavendish "Sue C" (London, UK)trax:
01 Mellow Down Easy (For Chester) 02 The Unseen Enemy 03 Life Is Fine 04 Barefoot Rock 05 Sleepwalk 06 Around And Around 07 That_s How Things Get Done 08 Broken Promises 09 I Am A Sinner 10 If I Had Possesion Over Judgement Day 11 Where_s That At 12 The Last Fair Deal 13 How I Wanted You 14 I Wish You Would
…served by Alain…

RUTH BROWN "The Chronological Classics 1951-1953"

Ruth Brown was the first great female R&B; star of the 1950s, one of the crucial figures in the transition between that music and early rock & roll. She began her career on Atlantic Records in that label's infancy, and did much to establish Atlantic as the premier R&B; label. Brown chalked up hit after hit between 1949 and 1955.

trax:
01 Don't Cry 02 The Shrine Of St. Cecilia 03 It's All For You 04 Without My Love 05 Shine On 06 Be Anything 07 5-10-15 Hours 08 Have A Good Time 09 Daddy Daddy 10 Good For Nothin' Joe 11 Three Letters 12 Mama, He Treats Your Daughter Mean 13 Mend Your Ways 14 I Would If I Could 15 Wild Wild Young Men 16 The Tears Keep Tumbling Down 17 Ever Since My Baby's Been Gone 18 If I Had Any Sense 19 If You Don't Want Me 20 Too Many Men 21 Love Contest 22 Hello Little Boy
...served by Gyro1966...

JOHNNY OTIS "The Chronological Classics 1950"

Johnny Otis spent the year 1950 leading large and small bands from behind his scintillating vibraphone, almost always backing delightful vocalists. The Otis lineup was perpetually impressive: Little Esther Phillips, Mel Walker, Redd Lyte, Lee Graves, and naturally the Robins. Otis is also believed to have been one of three singers billed as the Beltones, crooning behind Phillips on "Just Can't Get Free." This batch of reissues is a delightful grab bag of Afro-American recorded entertainment. Anyone searching for those often-cited "roots of rock" should listen in on wild guitarist Pete Lewis during "I'm Living O.K." Irresistible honey-and-ginger-voiced Little Esther is particularly well represented here, either carrying a song by herself or teamed up with Mel Walker. On "Cupid's Boogie" these two find themselves sliding uneasily toward matrimony. An inevitable sequel, "Wedding Boogie," is the definitive Johnny Otis situation comedy routine, adding full-throated Lee Graves as a tippling jackleg preacher who flirts with the bride. "Freight Train Boogie," this compilation's only instrumental, is a masterpiece of topical rhythm, rock, and roll, featuring once again the twangy electric guitar of Pete Lewis and some smoking manipulations on the vibes by Johnny Otis. (All Music Guide)

trax:
01 Misery 02 I'm Through 03 I'm Living O.K. 04 There Ain'T No Use Begging 05 You'Re Fine But Not My Kind 06 Helpless 07 Cool And Easy 08 Mistrustin' Eyes 09 Dreamin' Blues 10 Cupid's Boogie 11 Just Can'T Get Free 12 My Heart Tells Me 13 Lost Dream Blues 14 Deceivin' Blues 15 Lonely Blues 16 Strange Woman 17 Freight Train Boogie 18 Good Time Blues 19 Sunset To Dawn 20 Wedding Boogie 21 Faraway Christmas Blues 22 Love Will Break Your Heart 23 Rockin' Blues 24 I Don'T Care 25 I Dream
...served by Gyro1966...

JOHNNY OTIS "The Chronological Classics 1949-1950"

This release catches Johnny Otis just as he made the switch from big band jazz-styled pieces to the pivotal R&B-based; sound that would carry him into the rock & roll years. Everything here is from his first year with Savoy Records, but unfortunately doesn't include his biggest hits from that year with the label ("Double Crossing Blues," "Mistrustin' Blues," "Cupid's Boogie"). While this is an extremely satisfying disc, those omissions (each went to number one on the R&B; charts) make this a poor choice for a first glimpse at this versatile and innovative musician. (All Music Guide)

trax:
01 I Gotta Guy 02 Mean Ole Gal 03 Thursday Night Blues 04 Good Ole Blues 05 Boogie Guitar (Three Guitars) 06 Ain't Nothing Shakin' 07 Hangover Blues 08 Get Together Blues 09 I'm Not Falling In Love With You 10 If It's So, Baby 11 Our Romance Is Gone 12 If I Didn't Love You So 13 Rain In My Eyes 14 Double Crossing Blues 15 Head Hunter 16 Going To See My Baby 17 The Little Red Hen 18 New Orleans Shuffle 19 The Turkey Hop (Part 1) 20 The Turkey Hop (Part 2) 21 Blues Nocturne 22 Cry Baby 23 Lover's Lane Boogie 24 I Found My Troubles
...served by Gyro1966...

"THE R and B RECORDS STORY"

Good and hard to find collection of R&B from this small Hollywood , California record label that only lasted a short while.trax:
1. Hearts Of Stone - The Jewels 2. Runnin' - The Jewels 3. Mambo Hop - Oscar Saldana 4. Bop Hop - Oscar Saldana 5. Oh Yes I Know - The Jewels 6. A Fool In Paradise - The Jewels 7. Late Rising Moon - Earl Curry & The Blenders 8. I Want To Be With You - Earl Curry & The Blenders 9. Rosalie - The Jewels 10. Living From Day To Day - The Jewels 11. He Walks With Me - Stars Of Bethel 12. There Is A Fountain - Stars Of Bethel 13. Rock It - The Rockin' Brothers 14. Behind The Sun - The Rockin' Brothers 15. I'm Crying - Rudy Jackson & Mel-O-Aires 16. Enfold Me - Rudy Jackson & Mel-O-Aires 17. Without A Friend - Ray Agee 18. I Need You - Ray Agee 19. Try And Get Me - Earl Curry & The Blenders 20. Dream - Earl Curry & The Blenders 21. Chop Chop - Chuck Higgins 22. Rock - Chuck Higgins
...served by Gyro1966...

"THE BEST OF EMPIRE RECORDS"

Cool collection of obscure rock 'n' roll and R&B; from this small record label from California which only lasted for one year.

trax:
1. Shattered Dreams - The Youngsters 2. Tender Love - "Ricky" 3. Don't Fall In Love Too Soon - The Preludes 4. You're An Angel - The Youngsters 5. I Hear A Melody - The Jack & Jills 6. How Big A Fool Can You Be - Bixie Crawford 7. Dreamy Eyes - The Youngsters 8. I Want Your Arms Around Me - The Preludes 9. I'll See You Next Fall - The Tempters 10. Rock And Roll Cowboy - The Youngsters 11. Rock And Roll Wedding - Bixie Crawford 12. Baby Please Come Home - "Ricky" 13. Counterfeit Heart - The Youngsters 14. I'm Sorry Now - The Tempters 15. Roses Never Fade - The Jack & Jills 16. Christmas In Jail - The Youngsters
...served by Gyro1966...

LOWELL FULSON "The Chronological 1947-1948 Classics"

This is a collection of early Lowell Fulson sides recorded for several small labels in 1947 and early 1948, prior to Fulson's signing with Swing Time Records (two of his Swing Time sides are included here, "Scotty's Blues" and "This Train Is Leaving"). Although there is a charming and unadorned simplicity to several of these tracks, including the opener "Night & Day" and the fiery "Fulson Boogie," which pairs Fulson with his brother Martin Fulson on twin guitars, Lowell Fulson's mature sound didn't develop until he began working with pianist Lloyd Glen and alto saxist Earl Brown a little further down the road. (All Music Guide)

trax:
01 Night And Day 02 Double Trouble Blues 03 Stormin' And Rainin' 04 Good Woman Blues 05 Jerry, Jerry 06 Mean Woman Blues 07 9_30 Shuffle 08 Thinkin' Blues 09 Tell Me Baby 10 Fulson Boogie 11 Tryin' To Find My Baby 12 Let's Throw A Boogie Woogie 13 Highway 99 14 Whiskey Blues 15 Scotty's Blues 16 The Train Is Leavin' 17 Crying Blues 18 You're Gonna Miss Me When I'm 19 Miss Katie Lee Blues 20 Rambling Blues 21 Fulson's Blues 22 San Francisco Blues
...served by Gyro1966...

The Mojos "Working" 1982

Another of the Liverpool contingent, The Mojos' only managed one sizeable hit, "Everything's Alright", despite having a strong local reputation and a triumphant stint at Hamburg's famous Star Club.The Mojos were one of the few Merseyside groups to be signed to Decca. They had originally called themselves the Nomads and still had Adrian Wilkinson on lead guitar at the time they cut their first single, becoming the Mojos. He was soon replaced by Nicky Crouch, who had previously played with a group called Faron's Flamingos who had themselves cut two unsuccessful singles on the Oriole label. After their first single failed to chart the Mojos departed for Hamburg following the trail well worn by so many UK rock and roll bands of the period. While they were actually in Germany they cut their second single.'Everything's Al'right' which was penned by the group themselves. The record became the group's only top ten hit.
The Mojo's next single, written by their pianist O'Toole, and its follow up both made the chart. However only the first hit comes near to capturing the excitement of their live act. At the end of 1964 the group's line up changed dramatically, losing Keith Carlson (bass), Terry O'Toole and John Conrad (drums). However they continued to record as a four-piece benefitting from the addition of a new drummer, Aynsley Dunbar and a bass player called Lewis Collins. None of the band's subsequent recordings sold very well including one attributed to 'Stu James and the Mojos', and it finally broke up in January 1967. Lewis Collins became a professional actor and is best known for his part in the TV series 'The Professionals'. - from: www.45-rpm.org.uk/dirm/mojos.htmThe Mojos:
Stu James: vocals / Nicky Crouch: guitar, vocals / Terry O'Toole - piano / Keith Karlson: bass / John Conrad, Aynsley Dunbar: drums

traxfromwax:
1. FOREVER 2. THEY SAY 3. EVERYTHING´S ALRIGHT 4. GIVE YOUR LOVIN´ TO ME 5. WHY NOT TONIGHT 6. DON´T DO IT ANYMORE 7. SEVEN DAFFODILS 8. NOTHIN´ AT ALL 9. I´VE GOT MY MOJO WORKING 10. THE ONE WHO REALLY LOVES YOU 11. NOBODY BUT ME 12. COMIN´ ON TO CRY 13. THAT´S THE WAY IT GOES 14. WAIT A MINUTE 15. WONDER IF SHE KNOWS
ripped from vinyl in glorious monoloudarama!

SONNY BOY WILLIAMSON "The Chronological 1951-1953 Classics"

If legend grows out of mystery, then Rice Miller could be its poster boy, since even his name is an uncertainty (he was most likely born as Alec or Alex Miller), and given that he assumed the name of another harmonica player, thus becoming the second Sonny Boy Williamson, he seemed to approach life like it was a hall of mirrors. What keeps him from being a completely self-invented illusion is that he was a remarkable musician, and the music he recorded is as solid as bedrock, an impressive counterweight to the vague and watery details that pass for his personal biography. Like the first Williamson, he was a harmonica player, but he really sounded nothing like his adopted namesake, favoring a light, soaring, almost horn-like sound on the instrument. He was also a natural songwriter, and his blues-based compositions show a sharp attention to detail unusual in a genre built largely on cliché and a handful of repeated patterns. This collection brings together his first recordings, done for Trumpet Records, a tiny Mississippi label that issued Williamson's sides from 1951 until 1955, at which time his contract was bought out by Chicago's Chess Records, who then began issuing his sides on the Checker imprint. From the first track here, the sparse and urgent "Eyesight to the Blind," it is obvious that Williamson was something special, with a clear vision of what he wanted to do, and song after song here exhibits a rough and wild joy, walking the blues side of the street with a loose-limbed swagger. Particularly striking is "Mighty Long Time," a duet of sorts featuring Williamson on vocals and harmonica, and Cliff Givens of the Southern Sons Gospel Quartet on vocal bass. Givens' sung bassline gives the tune an odd, eerie, and atmospheric edge, and it is simply a remarkable recording. The great slide guitarist Elmore James also shows up on several cuts, including the delightfully realized "Pontiac Blues." Williamson's later Checker sides were better recorded, but the ramshackle skill at work on these Trumpet recordings really shouldn't be missed. He may have been an enigma with an unverifiable past and an ever-shifting public identity, but Rice Miller knew what to do in front of a microphone. There's no mystery about that. (All Music Guide)

trax:
01 Eyesight To The Blind 02 Crazy About You Baby 03 Stop Crying 04 Do It If You Wanna 05 Cool, Cool Blues 06 Come On Back Home 07 I Cross My Heart 08 West Memphis Blues 09 Sonny Boy's Christmas Blues 10 Pontiac Blues 11 Mighty Long Time 12 Nine Below Zero 13 She Brought Life Back To The Dead 14 Too Close Together 15 Stop Now Baby 16 Mr. Down Child 17 Cat Hop 18 She's Crazy (Take 1) 19 309 20 Sonny's Rhythm (Take 1) 21 City Of New Orleans
...served by Gyro1966...

TINY GRIMES "The Chronological 1949-1951 Classics"

Lloyd "Tiny" Grimes was a vital force in swing, bebop, and R&B.; Ungratefully jettisoned from the roster of the Atlantic record company in 1949, Grimes lined himself up with Gotham Records in Philadelphia. In 2004, the Classics Blues & Rhythm Series reissued all of Grimes' Gotham recordings made between 1949 and 1951. While this is rocking R&B; at its very best, the jazz element runs strongly through these tasty vintage jams, and is personified by saxophonists Benny Golson, John Hardee, and Red Prysock; bassist Ike Isaacs; and pianists George Kelly and Freddie Redd. On the first two tracks the great Sonny Payne, later famous for his work with Count Basie, is all over the drums. Grimes himself had developed by 1949 into a first-rate jam-up electric guitarist. No melody was safe from this man's good-time sensibilities, be it "Frankie and Johnny," "Down by the Riverside," "Things Ain't What They Used to Be," or even "Loch Lomond." So successful was this last tune when performed in person that Grimes and his guys put on kilts and started calling themselves the Rocking Highlanders. Most of this stuff is solid, groovy, exciting instrumental dance music. There are only two vocalists on the entire compilation -- Georgia native Claudine Clark and George Grant, who went by the name of Haji Baba. As slim as John Hardee's discography is (mostly Blue Note sides, usually mentioned in the same breath as those of Ike Quebec), his instrumental collaborations with Tiny Grimes are precious indeed. This outstanding compilation ends with a surprise tidbit predating the scope of this segment of the Grimes chronology; inadvertently omitted from an earlier volume in the series, "Jackie's Dance" was recorded near the end of 1947 and features Red Prysock on the tenor sax. (All Music Guide)

trax:
01 Things Ain't What They Used To Be 02 Drivin' And Jivin' (Flying Saucer Boogie) 03 I'm In Love With You Baby 04 Frankie And Johnny Boogie 05 Riverside Jump 06 Loch Lomond 07 Sanctifying The Blues 08 Marie 09 Battle Of The Mass 10 Hawaiian Boogie 11 My Baby's Cool 12 St. Louis Blues 13 1626 Blues 14 Rockin' And Sockin' 15 Am I Blue 16 Tiny's Jump 17 Howling Blues (Blues) 18 Bananas 19 Jackie's Dance
...served by Gyro1966...

The Pretty Things "The Vintage Years" 1976 double-LP

Offstage, Prince insisted on carrying around a dead crayfish for several days. John Stax recalled his behavior to Ugly Things: "We'd been giving Viv a bit of a hard time because of his drinking. He was really bad news. We'd locked the dressing room and he tried to break into it with an axe. You could see the axe, just like you see in the movies! Anyway, he got over that, and that night he tried to set fire to the bloody stage. He was just rushing across stage with these firebrands, like lighted torches made of newspapers! The fire brigade were called out and they kept squirting him with all this stuff, chasing him across the stage!" - excerpt from Pretty Things Biography by Mike StaxIf anyone wanted proof that rock could be good 'n' nasty smack in the summer of 1964, and they wanted an example of a tremendous run-on sentence, then they need look no further.
A great collection of the vintage recordings of a band whose prime years were 1964 to 1966. By 1975 the band continued on but had none of the original members. Ranking up there with the Animals and Ugly Ducklings as true roots of punk, early Pretty Things will still put the beats into any party or young communists rally. This set journeys from garage rock to pseudo-psychedelia to blues. Includes covers of songs by their mentors: Chuck Berry and Willie Dixon (Bo Diddley's 'Pretty Thing'!).
Liner notes include detailed single and LP info - American and English. In 1966, 'L.S.D.', which is here, appeared as a British b-side to 'Come See Me', but in the States a song called 'Progress' was used instead! - phnuggletraxfromwax:
1. Don't Bring Me Down 2. Road Runner 3. Come See Me 4. Rainin' In My Heart 5. 13 Chester Street 6. I Can Never Say 7. Honey, I Need 8. Rosalyn 9. Can't Stand The Pain 10. The Moon Is Rising 11. Judgement Day 12. Mama Keep Your Big Mouth Shut 13. Gonna Find A Substitute 14. Oh! Baby Doll 15. Midnight To Six Man 16. Buzz The Jerk 17. We'll Play House 18. Cry To Me 19. Don't Lie To Me 20. Unknown Blues 21. Big City 22. Tripping 23. Photographer 24. A House In The Country 25. Progress 26. She's Fine She's Mine 27. L.S.D. 28. Pretty ThingThe Pretty Things - Blokker Festival, 1965"Can't stand the pain"

EFFIE SMITH "The Chronological 1945-1953 Classics"

Live in a house with someone who never gets off the phone? The ideal gift would be to find a copy of the mid-'60s Jubilee disc Dial That Telephone, in which this ace '50s rhythm & blues and doo-wop veteran chatters and testifies up a storm in the process of lampooning heavy telephone yakkers, complete with funky blues grooves for a backing track. The album was part of a series of novelty releases on Jubilee that were known as "adult listening," although by the standards of 21st century rap, this material by Rusty Warren, Autry Inman, and the like seems more corny than obscene. Smith, who proved she could talk a blue streak around any of the Jubilee artists, was actually best-known as a blues singer from the West Coast scene of the '50s, which is where the satirical telephone recording actually originated. Effie Smith was particularly active from the middle of that decade on, often collaborating with artists such as her husband John Criner and two different doo-wop groups named the Squires. One of these Squires featured Don "Sugarcane" Harris and Dewey Terry, later known as Don and Dewey. And Harris, of course, later went on to instrumental glory with Frank Zappa and others. "Dial That Telephone" was originally recorded in the '50s for the Alladin label as part of the "4000" series -- the next item in the catalog, Ritchie Valens' recording of "Donna" with a little Mexican folk song called "La Bamba" on the other side, obviously made much more of a commercial impact. Smith and hubby Criner also reissued "Dial That Telephone Part 1 and 2" on their own Spot label in 1959. The couple founded a publishing company, Aries Publishing, around the same time, part of a respectable trend of performers getting their mitts on their own recording and pressing ventures. It was at the Spot label that Don and Dewey first stepped forward from the shadows of group membership to become leaders of their own sessions, revealing savvy A&R; instincts on the part of both Criner and Smith.
Although nothing quite tops a listener's first reaction to "Dial That Telephone," it is not the only number Smith had up her sleeve. Effie Smith cut many other fine songs, including "Champagne Mind With a Soda Water Income," a tune picked as an "irresistible R&B; classic" by one rhythm & blues scholar just on the basis of the song's title alone. Some of her sides with the Squires include "Water, Water" and "You Ought to Be Ashamed," the latter song possibly dedicated to whoever tied up the phone line for so long. In 1965, she cut the hard-to-find single "Teenage World" for Duodisk. An interesting B-side cut for Eee Cee in 1968 takes her telephone yabbering idea and weds it to a then-current country hit, "Harper Valley PTA"; resulting in a number entitled "Harper Valley PTA Gossip," which is almost as much fun as her original phone marathon.
Smith made her first professional splash in the '40s, when she appeared as a regular guest on broadcasts of the Armed Forces Service Radio. Much of this material has been reissued as collector's broadcast transcripts, and reveals a performance opportunity that not only included a hungry, appreciative audience, but a whole world of possible connections and influences for a young performer.
Effie Smith took part in broadcasts with artists such as tenor saxophone colossus Coleman Hawkins, bandleader and composer Benny Carter, and even pianist and eventual classical conductor Andre Previn at the age of 16. Smith cut one her earliest sides, "Answer to R.M. Blues" and "It's Been So Long," for the Miltone label in 1947. (All Music Guide)

trax:
01 Effie's Blues 02 I'm In The Groove Tonight 03 Ooh, What I Dreamed About You 04 Ditty Bag Jump 05 I Been Down In Texas 06 Root-Lie-Voot 07 Gettin' Out 08 Wee Baby Brother Blues 09 Nothin' You Can Do 10 Effie's Boogie 11 Haunted By The Blues 12 What You Puttin' Down 13 Go Ahead With Your Lucky Self 14 Sugar-Daddy 15 Answer To R. M. Blues 16 It's Been So Long 17 Ain't Nothin' Nothin' Baby Withou 18 Crazy Crazy 19 He Treats Your Daughter Mean 20 Shoo My Blues Away 21 Cry Baby Cry 22 Three Men In My Life 23 Don't Cha Love Me 24 Dial That Telephone
...served by Gyro1966...

LITTLE WALTER "The Chronological 1947-1953 Classics"

This 24-track compilation from the French Classics label focuses on Little Walter's crucial early sessions for Parkway, Ora-Nelle, and Checker. At the time of these recordings, the distorted amplified sound of Walter Jacobs' harmonica was helping map out the postwar blues idiom as an important presence in Muddy Waters' band, while under his own name Walter released such electric Chicago blues classics as "I Just Keep Loving Her," "Tell Me Mama," "Lights Out," "Blues With a Feeling," and the instrumental romp "Juke," which propelled the harpist into national prominence in 1952. Of the numerous available overviews of Little Walter's extraordinary career, this is one of the best. (All Music Guide)

trax:
01 Ora Nelle Blues 02 I Just Keep Loving Her 03 Juke 04 Can't Hold On Much Longer 05 Blue Midnight 06 Boogie 07 Mean Old World 08 Sad Hours 09 Fast Boogie 10 Don't Need No Horse 11 Don't Have To Hunt No More 12 Crazy Legs 13 Tonight With A Fool 14 Off The Wall 15 Tell Me Mama 16 Blues With A Feeling 17 Quarter To Twelve 18 Last Boogie 19 Too Late 20 Fast Boogie 21 Lights Out 22 Fast Large One 23 You're So Fine 24 My Kind Of Baby
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JIM WYNN "The Chronological 1947-1949 Classics"

This is the second of two volumes from Classics Records collecting saxophonist Jim Wynn's complete recorded output as a bandleader. Mostly instrumental small-combo and jump blues pieces, these sides are competent and professional without being particularly compelling or distinctive. Two of the later tracks, "Rubber Legs" and "Let's Rock," have an early rock & roll feel, straying nicely into King Curtis territory. (All Music Guide)

trax:
01 Fat Meat 02 Put Me Down Blues 03 Muffle Joe Shuffle 04 Cold Blooded Boogie 05 P. S. I Love You 06 J. W. Bop 07 Blow Wynn Blow 08 Farewell Baby 09 Goofin' Off 10 Strange Love 11 West Coast Lover 12 Dog House Blues 13 Hollywood Stampede 14 Snug As A Bug In A Rug 15 Down To The Ocean 16 I'm The Boss 17 Rubber Legs 18 Let's Rock
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JIM WYNN "The Chronological 1945-1946 Classics"

Born in El Paso and raised in Los Angeles, James A. Wynn claimed to have been the very first West Coast saxophonist to perform while laying on his back, insisting that Jay McNeely saw the act as a youngster and later copied the "clowning" in order to attract attention. While gigging in Watts, young Wynn befriended dancer, vocalist, and guitarist T-Bone Walker. Their friendship lasted for years and Wynn shows up from time to time in the T-Bone Walker discography. This compilation documents Jim Wynn's first year as a professional recording artist, tracing a trail of 4 Star and Gilt Edge recordings and finishing off with four sides waxed for the Modern label in 1946. Big Jim Wynn's Bobalibans were named after "Ee-Bobaliba," a novelty jump tune written by Wynn but first recorded by Helen Humes. Wynn's own version is heard here with a vocal by R&B; legend Claude Trenier, a veteran of the Jimmie Lunceford Orchestra. Other singers employed by Wynn included pianist and smooth crooner "Lord" Luther Ruper and rowdy blues and jive man Pee Wee Wiley. Upright bassist Ted Shirley was also a throaty blues shouter who carries on crustily in a manner similar to Pleasant Joseph on "Get Yourself in Line." Nestled in among all of these pungent vocals, the three instrumental tracks feel particularly fresh and frolicsome. "Winnin' with Wynn" delivers a good taste of West Coast bop. "Wynn's Boogie" rocks a lot like the Roy Eldridge Orchestra and "Organ Grinder Swing" settles in like a visitation from Jimmie Lunceford. (All Music Guide)

trax:
01 Buzz Buzz Buzz 02 I Want A Little Girl 03 I Don't Want To Cry Anymore 04 Shipyard Woman 05 Cherry Red 06 Rock Boogie 07 Deed I Do 08 Ee-Bobaliba 09 Butter For My Roll 10 Juke Box Jump The Blues 11 Gal 12 Lost Woman Blues 13 In A Rhapsody In Minor 14 Jelly Kelly Blues 15 Buzz Me, Baby 16 Winnin' With Wynn 17 Wynn's Boogie 18 Organ Grinder's Swing 19 Get Yourself In Line 20 Just In Case You Change Your M
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BUSTER BENNETT "The Chronological 1945-1947 Classics"

Saxophonist Joseph Buster Bennett was born in Pensacola, FL, in 1914. After gaining some professional experience in Texas he settled into Chicago's thriving music scene during the late '30s, blowing soprano, alto, and tenor saxophone as a session man for the Vocalion, Columbia, OKeh, Decca, and Bluebird labels. His first recorded appearance was on Monkey Joe Coleman's "Taxes on My Pole" (1938) and he can be heard speaking on Washboard Sam's "Block and Tackle" (1939). Bennett also blew his horns behind Ramona Hicks, Big Bill Broonzy, Jimmie Gordon, Jimmie McLain, Merline Johnson, and Minnie Mathes. From February 1945 to December 1947 Buster Bennett made a series of rough-and-tumble blues recordings for Columbia, singing his own funky lyrics in a gutsy voice and squeezing meaty solos out of his sax. Bennett's discography is peppered with interesting names among players of uncertain identity. Wild Bill Davis shows up periodically at the piano and bassist Israel Crosby is present on all but the first seven tracks. Bennett employed a trumpeter much of the time in addition to a second saxophonist, most often Andrew "Goon" Gardner on alto. This is gritty, sometimes slightly nasty South Side Chicago blues, bristling with references to everyday life. One topic that arises from time to time is the use (and overuse) of marijuana. "Reefer Head Woman" makes only passing reference to the weed as one item in a litany of excesses associated with a troublesome female. "Mellow Pot Blues" might be the first recorded song using the word "pot" to describe the stuff. The term has been traced to the practice of growing cannabis in a flowerpot placed near the windows of one's inner-city apartment -- literally, a "pot plant" -- allowing the tenant easy private access to small amounts of the analgesic herb. Bennett casually mentions lighting up along with other common activities and predicaments such as being broke, getting juiced, trying to get laid, and sticking up for one's self. "I'm a Bum Again" specifically describes an ex-soldier returning from the Second World War and struggling to survive. Bennett's records didn't sell very well, largely because he was perceived as being slightly behind the times -- some of this material is clearly patterned after Louis Jordan's act. Dropped from Columbia's roster in early 1948, he struggled to obtain work in Chicago, relocated to Cleveland, and spent the last 25 years of his life as a forgotten man in Houston, TX, where he died in 1980. It is good to be able to hear his recorded works in chronological order. The instrumentals are particularly tasty: "Leap Frog Blues," "Mr. Bennett Blows," and "Famous Door Boogie" are without question the toughest and most rewarding cuts reissued here. (All Music Guide)

trax:
01 Leap Frog Blues 02 Reefer Head Woman 03 Don't Worry About A Thing 04 Broken Down Man 05 Let Me Love You, Baby 06 Got Too Much Insurance 07 Mellow Pot Blues 08 Jersey Cow Boogie 09 I Want To Woogie Woogie 10 Don't Jive Me Baby 11 Signifying Woman 12 I'm A Bum Again 13 Crazy Woman Blues 14 It Can Never Happen 15 Mr. Bennett Blows 16 Rockin' My Blues Away 17 You Are Too Beautiful-Weary River 18 Hard Luck Blues 19 Famous Door Boogie 20 Play Those Riffs 21 Three Different Women 22 Stop That Walking Baby
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"DOWNEY BLUES"

Seven of the eighteen tracks here are previously unissued. Together, the collection is an extremely moving and unforgettable combination of ballads and upbeat R&B; and Blues pieces from this small, 1960s label. Included are among the earliest recordings of a high-voiced Little Johnny Taylor. His two cuts, "Stop Fooling Around" and "I've Got News For You" are pained stories of lost love from a young man in excellent control of his voice, if not his ladies. Saxophonist Paul Clifton leads the backing band on both tracks. The horn-led melodies provide excellent counterpoint to Taylor's vocals. One of the three cuts from T-Bone Walker, Jr. is previously unissued and the trio of songs shows him a polished blues vocalist and economic guitarist. Born R.S. Rankin, he renamed himself in honor of his famous uncle and mentor, Aaron "T-Bone" Walker. R&B; vocalist Jessie Hill has six contributions, more than any other artist. Hill made the big time with the Allen Toussaint produced hit "Ooh Poo Pah Doo." The arrangements here are fun and upbeat, nicely matching Hill's lively and vibrant singing. There are two unearthed gems from saxophonist Chuck Higgins. Of these, "Sorry 'Bout That" is a swinging jam full of studio chatter. "Night Scene" is cool, urban and hip. Both are showcases for Higgins' smooth and melodic playing. More blues and soul is had from Ace Holder. Holder really only flirted with an R&B; career, so we are lucky to have five cuts here from this bluesy soul vocalist and harmonica player. (ALL MUSIC GUIDE)trax:
1. Midnight Bells Are Ringing - T-Bone Walker, Jr. 2. Leave My Woman Alone - Ace Holder 3. Chip Chop (My Fair Lady) - Jessie Hill 4. Sorry 'Bout That - Chuck Higgins 5. I've Got News For You - Little Johnny Taylor 6. Woodshed - Jessie Hill 7. Happy Anniversary - Ace Holder 8. Empty Feeling - T-Bone Walker, Jr. 9. Understanding - Jessie Hill 10. When You Are Around - Ace Holder 11. Night Scene - Chuck Higgins 12. Down The Street - Jessie Hill 13. Stop Fooling Around - Little Johnny Taylor 14. This Love Of Mine - Ace Holder 15. TV Guide - Jessie Hill 16. Sumptin' Else - T-Bone Walker, Jr. 17. Never Thought - Jessie Hill 18. Doris Tee - Ace Holder
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