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Post by Admin on Apr 8, 2013 5:50:27 GMT -5
At the time the UK prime minister was Harold Wilson and the term "nit" was a colloquialism for "idiot". I guess Decca didn't fancy having to withdraw the LP to change sleeves, which had happened in the past to other "controversial artwork". Love that little tidbit Alan. smiley-eatdrink004
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Post by AlanB on Apr 8, 2013 6:05:59 GMT -5
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Post by Admin on Apr 8, 2013 10:04:25 GMT -5
Rattlesnake Lil' Ed & the Blues Imperials Alligator - 4909 A review written for the Folk & Acoustic Music Exchange by Bob Gottlieb (taoboy@cox.net) There are a lot of adjectives you could call Lil' Ed & the Blues Imperials, but shy and retiring are definitely not two of those that would fit. Put his new disc in the player and be prepared, you and the whole house are going to be rocking, that is a sure bet. Lil' Ed learned to play slide guitar from his uncle J.B. Hutto, one of the hottest slide guitarists in Chicago, in truth J.B. taught both Ed and the band's bassist and Ed's half brother, James "Pookie" Young, to play bass also, so the family blood lines are a deep root. Lil' Ed & the Blues Imperials have established a reputation around the world as one of the best, most raucous, dance/party band around. If you can listen to this band without moving you are either made of stone, or not of the living world. This incarnation of the band has stayed steady from his last disc, "Heads Up," with "Pookie" holding down the bass and background vocals, Michael Garrett on guitar and background vocals and Kelly Littleton on drums, just adding Johnny Iguana on piano and organ for a little bigger sound. If you like to dance, or just listen to an extremely talented and raw slide guitarist this is a disc you should not miss. The Lil' in Ed's name is in reference to his height only, because his sound is so big it is hard to contain. This is someone who, as good as their discs are, in person they will blow you away with the power and dimension of their sound. This is one smoking band that is led by the feral and rambunctious slide guitar playing and singing of Lil' Ed Williams. Track List: •Leaving Here •Tired Of Crying •Golden Rule •You Just Weren't There •Icicles In My Meatloaf •Broken Promises •Tramp On Your Street •Maybe Another Time •Spend Some Time With Me •Nobody's Fault But My Own •You Know You're Wrong •That's The Truth •It's A Beautiful World
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Post by Admin on Apr 9, 2013 6:21:30 GMT -5
Few vintage artists continue to divide the Post-WWII blues community's opinions quite so sharply as the late Andrew "Smokey" Hogg. For many, myself included, his intimate style and unique rhythmic approach is ever endearing. For others, he's a guy who ruined many potentially great records due to his eccentric sense of timing." Fortunately, there are more than enough of 'us' to create the sales that sustain Ace's Hogg reissue programme. Therefore I'm as delighted as the next Hogg fan would be to be responsible for the assembly of another first-rate selection of Smokey's Modern recordings - the second in a series of three (or possibly even four) that kicked off last year with "Serve It to the Right" (CDCHD 866) and that will continue, in late 2005, with an as-yet-untitled anthology that will also draw on the man's Federal, Meteor and Recorded In Hollywood sessions. MIDNIGHT BLUES - which was originally going to be titled "Baby Don't You Tear My Clothes", by the way - brings you another two dozen examples of Smokey's Modern oeuvre, a dozen of which have remained unheard since they were committed to acetate more than half a century ago. As always, our man is sympathetically backed on most cuts by a swinging trio of accompanists (including in their number - and on different sessions - by Hadda Brooks, Dorothy Broyles, Bill Davis, Cake Wichard, Sharky Hall, Austin McCoy and Wesley Prince) who are always understanding of, and wholly in tune with, Smokey's highly individual approach to performing. The work of the various trios here is in many ways as much of a highlight of these tracks as is that of Mr Hogg himself. I'm also delighted to be able to include a fully revised discography of the featured repertoire, thanks to the ever-present and always welcome assistance of intrepid researcher Russ Wapensky. In the course of his research Russ has uncovered plenty of new details of session locations and personnel, all of which add considerably to what we already knew courtesy of previously published blues tomes. We have also been able to date most of the sessions with considerably more accuracy than has previously been the case. As I never tire of pointing out to the (thankfully) ever-decreasing band of Hogg-haters, Smokey sold a lot of shellac for a lot of labels in his heyday. Syd Nathan, Lew Chudd, Bobby Shad and the Bihari brothers would certainly not have invested prolonged studio time in any artist whose 78s did not sell in sizeable quantities. Smokey Hogg's popularity in the early 1950s is testament to his talent, and reason enough for Ace to afford him the respect that any artist of his importance deserves by continuing to bring the best of his classic Modern recordings to a CD player near you. "Anytime Is the Right Time" for Smokey Hogg! By Tony Rounce"
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Post by Admin on Apr 9, 2013 9:51:53 GMT -5
Champion Jack Dupree
A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce. Dupree was notoriously vague about his beginnings, claiming in some interviews that his parents died in a fire set by the Ku Klux Klan, at other times saying that the blaze was accidental. Whatever the circumstances of the tragic conflagration, Dupree grew up in New Orleans' Colored Waifs' Home for Boys (Louis Armstrong also spent his formative years there). Learning his trade from barrelhouse 88s ace Willie "Drive 'em Down" Hall, Dupree left the Crescent City in 1930 for Chicago and then Detroit. By 1935, he was boxing professionally in Indianapolis, battling in an estimated 107 bouts. In 1940, Dupree made his recording debut for Chicago A&R man extraordinaire Lester Melrose and OKeh Records. Dupree's 1940-1941 output for the Columbia subsidiary exhibited a strong New Orleans tinge despite the Chicago surroundings; his driving "Junker's Blues" was later cleaned up as Fats Domino's 1949 debut, "The Fat Man." After a stretch in the Navy during World War II (he was a Japanese P.O.W. for two years), Dupree decided tickling the 88s beat pugilism any old day. He spent most of his time in New York and quickly became a prolific recording artist, cutting for Continental, Joe Davis, Alert, Apollo, and Red Robin (where he cut a blasting "Shim Sham Shimmy" in 1953), often in the company of Brownie McGhee. Contracts meant little; Dupree masqueraded as Brother Blues on Abbey, Lightnin' Jr. on Empire, and the truly imaginative Meat Head Johnson for Gotham and Apex. King Records corralled Dupree in 1953 and held onto him through 1955 (the year he enjoyed his only R&B chart hit, the relaxed "Walking the Blues.") Dupree's King output rates with his very best; the romping "Mail Order Woman," "Let the Doorbell Ring," and "Big Leg Emma's" contrasting with the rural "Me and My Mule" (Dupree's vocal on the latter emphasizing a harelip speech impediment for politically incorrect pseudo-comic effect).
Blues from the Gutter After a year on RCA's Groove and Vik subsidiaries, Dupree made a masterpiece LP for Atlantic. 1958's Blues From the Gutter is a magnificent testament to Dupree's barrelhouse background, boasting marvelous readings of "Stack-O-Lee," "Junker's Blues," and "Frankie & Johnny" beside the risqué "Nasty Boogie." Dupree was one of the first bluesmen to leave his native country for a less racially polarized European existence in 1959. He lived in a variety of countries overseas, continuing to record prolifically for Storyville, British Decca (with John Mayall and Eric Clapton lending a hand at a 1966 date), and many other firms.
Back Home in New Orleans Perhaps sensing his own mortality, Dupree returned to New Orleans in 1990 for his first visit in 36 years. While there, he played the Jazz & Heritage Festival and laid down a zesty album for Bullseye Blues, Back Home in New Orleans. Two more albums of new material were captured by the company the next year prior to the pianist's death in January of 1992. Jack Dupree was a champ to the very end.
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Post by AlanB on Apr 9, 2013 10:03:53 GMT -5
He certainly had a varied career and when he lived in Halifax, Yorkshire with his family he was whizzing around Britain (late 60s/early 70s playing dates the length and breadth of the country. His recording career was just as voluminous as Stefan's discography bears witness too. There are also many LP and CD sleeve/booklet notes which he's made available for reading: www.wirz.de/music/duprefrm.htm
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Post by AlanB on Apr 10, 2013 1:37:09 GMT -5
Here's the first published appreciation ========================== In Remembrance of Smokey Hogg Gary Paulsen Blues Unlimited 55 (July 1968): pps 3-5
IN REMEMBRANCE OF SMOKEY HOGG The following was taken from an interview that I had during the first week of April with John Hogg who is, or was, Smokey Hogg's cousin. John is a very able musician in his own right, having played with Smokey, and recorded 'West Texas Blues' and 'Black Snake Blues' for the Octive label in the early fifties and then a decade later for Chris Strachwitz. But for more on John Hogg, see Chris's fine article in the May-June 1960 issue of 'Eureka'. "Smokey was born in 1914. I was born in 1912. We were born in Westconnie, Texas. Smokey and I were first cousins on my father's side. Both of our fathers were brothers. Smokey had four brothers and two sisters. His mother and father are now both dead, but his step-mother is still livin'. She's back in Texas. Her and one of Smokey's brothers are the only ones left back on the farm. That's about 36 miles from Henderson. Between Cushing and Henderson.
"Smokey must have been about five years old when I first discovered he could play guitar. We was livin' on the same farm back then. I knew Smokey's dad could play guitar, but I didn't know Smokey could play guitar. One day we were all out playin' and we came back to the farm for some water. Smokey went in and drug out his dad's guitar, set down on the steps, and started playin'. I was knocked off my toes 'cause I didn't know he could play guitar. I think Smokey picked up playing from his father. He would sit around watchin' and listenin' to his father play so much, that he finally just picked it up.
"Smokey done some recordin' when he was about 16. That was back in the days of Peetie Wheatstraw. They used to call him 'Little Peetie Wheatstraw'. He could play and sing every thing Peetie Wheatstraw ever recorded. They let Smokey record some of Peetie Wheatstraw's numbers in Peetie Wheatstraw's lifetime, and you couldn't really tell 'em apart.
"Back in Greenville, Texas, before he got into the recordin' business, Smokey and a guy they called Black Ace ('The' Black Ace) would play country dances. I'd carry Smokey on one side of town, he d play this dance over there and I'd take Black Ace on the other side of town to play. About the time the guys would be ready to wrap-up, I would run over and get Black Ace, double back and get Smokey. We would party together the rest of the night. I used to sing with Black Ace at them parties and dances. He played a guitar across his knees with a knife blade and he wanted me to sing. Smokey made his livin' doing that—playin' country dances. This was before he made any records ya know. There used to be a track back there in Dallas they call 'Central Track'. That was down in the coloured neighborhood. I used to take Smokey down there on a Saturday mornin'. He'd stand out there all day playin' and singin' for quarters and whatnot. I'd go back and get Smokey about 7 or 8 o'clock at night. He'd make himself anywhere from 50 to 75 dollars. In the cotton-picking time, Smokey would get out in the field and make himself a few bucks pickin' cotton. But he just fooled around. He didn't want to hurt himself or his fingers. Sometimes he'd get loose out in them fields playin' the blues on his guitar. The rest of the time, Smokey layed around, played country dances and suppers. Yeah, that's how he made his livin' like that.
Smokey was married twice. I didn't know Smokey's first wife. His second wife grew up back in Greenville, Texas, on a farm. Her name was Dorothy McMillan before they got married. He had one boy by her. I swear I don't know what that boy's name was, though. I never did see him. He had another child from the first wife too, but I don't know whether it was a boy or a girl. Smokey and his second wife stayed with me in Dallas. That was in the first of '41.
Smokey had made his first record for some company there in Dallas. Somehow or other, this company and Modern records got together and Modern records produced the record. It was a hit for Smokey. He was singin', 'Oh Babe, all your sparkplugs are gone and there's a crack in your cylinder head'. Somethin' about a car as I recall. It was either on Smokey's first or second session that there was a white group backing him up. There was a white girl on upright bass, a white boy backin' him on guitar and Smokey was playin' guitar with another white boy on drums. Smokey also played piano. But he was just a good down-home guitar player. He could play numbers of Big Bill, Peetie Wheatstraw and Leroy Carr.
I moved out here in 1942. Smokey came out here while I was livin' in the projects. That I think was his first time out here on the West Coast. He came out here to do some recording—to get with some company out here.
All the police in Dallas knew him. Whenever he'd be playin' North or East Dallas, walkin' around, the squad cars would stop and pick him up. They'd turn the radio on in the squad car there and call the Chief an' tell 'im to listen. 'We got Smokey Hogg here and we're gonna serenade ya'. Smokey had an old song that he made up, 'Oh Mister Police, Please Let Me Go!' He sang it to the Chief. They'd get a big laugh out of it ya know. Then they would drop him off at home.
"Smokey was a heavy drinker when he was recording. He'd tell Jules Bihari to go out and get him a drink. Jules would send out and get a fifth. That was for the whole band, but Smokey would turn it up and drink half of it. He'd set the rest of the fifth between his legs on the floor, and wouldn't share it with the rest of the band. He'd tell Jules to go out and get more for the guys. Smokey would sit there and record two sides. Then he'd drink the rest of the fifth and record two more sides. After the session was over, Smokey would get up, go to a grocery store, and buy himself some apple vinegar. He'd take three or four swigs to kill the whiskey.
"Smokey's been dead now for five years or more. I can't recall the exact year he died, but it was in the early '60's. You see, Smokey left me and went home. He said he was sick. His stomach was all swollen up. He went home and they operated on him in the Veteran's Hospital. I think that was in the city of Houston. I played at a club dance on Figueroa about a year after Smokey left here. The drummer said he saw Smokey in Chicago the previous week. He said he was there to do some recording (?) and he was pretty drunk. I knew Smokey had been operated on and that he shouldn't drink like that. About six or eight months later, my brother from Houston wrote and told me that Smokey died of cancer of the stomach from drinkin' so heavy. That's what got him down. That whiskey and stuff just ate out his intestines. He's buried down home there in Cushing, Texas. In Westconnie we'd say."
"Smokey Hogg was born on January 27, 1914, in Cushing, Texas. He came from a musical family of 14 children. His constant companion during his childhood days, the same as now, was his guitar. Because his parents were financially unable to pay for guitar lessons for Smokey, he taught himself. He played at picnics and local taverns and sometimes strolled along the streets playing and singing'.
Information supplied by Jacques Demetre and taken from a Federal D.J. copy's label of a Hogg release. (Blues Unlimited 30 July 1966 p 19)
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Post by Admin on Apr 10, 2013 7:14:21 GMT -5
Thanks Alan for digging that out for us. It really gives us a great insight into Smokey. This is one artist I hadn't previously considered, but now I want more! smiley-eatdrink004
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Post by AlanB on Apr 10, 2013 7:26:45 GMT -5
Well Jim there's no shortage of his recordings. Forty year ago a certain section of the blues fraternity went into print with the question "Is Smokey Hogg the most boring bluesman ever recorded?" www.wirz.de/music/hoggfrm.htm
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Post by Admin on Apr 10, 2013 7:28:53 GMT -5
Well Jim there's no shortage of his recordings. Forty year ago a certain section of the blues fraternity went into print with the question "Is Smokey Hogg the most boring bluesman ever recorded?" I'll refrain from joining the fraternity until I've had time to fully explore his recordings. Thanks for the link to Stefan's discography.
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Post by AlanB on Apr 10, 2013 9:06:48 GMT -5
I'll refrain from joining the fraternity until I've had time to fully explore his recordings. Well if it's of any interest I own everything he's ever recorded just to spite those who in the past have put him down.....
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Post by earleg on Apr 22, 2013 23:17:48 GMT -5
I put on my old standby this past weekend > That 57 of Freddie's Federal & King singles looks good!
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Post by muddylives on Apr 23, 2013 6:44:58 GMT -5
I put on my old standby this past weekend > That is a very nice Otis Rush album. I don't know if you are aware, but the very same record was first released By Sonet without the overdubbed horns as "Troubles, Troubles." Purests tend to favor that record and thumb their noses at the additional overdubbed horns. But I think that I actually prefer the version with horns. Maybe it is because that was the first way that I heard and fell in love with the album.
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Post by Admin on Apr 27, 2013 16:16:19 GMT -5
Willie Hamilton - Little Red Rooster Hand-Me-Down Music: Old Songs, Old Friends - Vol. 2 Traditional Music of Union County, North Carolina
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Post by earleg on Apr 30, 2013 19:58:27 GMT -5
Interesting and odd.... My CD doesn't have horns either and not much even keyboard wise. It is just mainly bass, drums, rhythm guitar and Otis. I also have an old cassette of it and same deal. Like the mix and backing groove a lot. Even though he does covers here like the way he handles them, especially the Red Rooster stroll. I play along with this CD often.
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