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Post by Admin on Apr 8, 2013 10:56:58 GMT -5
ELMORE JAMES LISTENERS NEED THIS BOOK January 15, 2010 By Stuart Jefferson TOP 100 REVIEWER Format:Hardcover|Amazon Verified PurchaseLarge size soft cover,311 pages,not counting the index,Forward or Preface. Included is an appendix of myths surrounding James,an EXTENSIVE discography(including chart appearances),a list of James' family members,the various record labels James appeared on,lengthy bibliography,and several pages of artists influenced by James' music. There are 21 pages of b & w photographs,not including photos at chapter headings,along with a number of ads and label reproductions from the era. In addition,my copy was autographed by the author,Steve Franz. He is also the author of "Elmore James: The Ultimate Guide to the Master of the Slide",which in it's 46 pages,is packed with info regarding Elmore James. If you listen to blues music,or have even a passing interest in the genre,then you've probably heard Elmore (born Elmore Brooks) James. His slashing,dirty,full-sounding style of slide guitar playing (along with his fiery single note runs) is heard everywhere in blues/blues-based rock. From J.B. Hutto,to the original FLEETWOOD MAC,to HOUND DOG TAYLOR AND THE HOUSEROCKERS,to THE ALLMAN BROTHERS BAND,to any number of guitarists/groups,his signature riffs are still heard today. Combined with his visceral style of singing,James is one of the cornerstones of electric blues,whose career lasted from the early 50's into the early 60's. The fact that he's usually pictured wearing eyeglasses,which gives him the look of a school teacher is in stark contrast to the power he could convey through his music. This great book is (I believe) the first in-depth look into Elmore James' life and times,and Mr. Franz should be congratulated in taking on such a project. In this book the author pieces together James' life,from his beginnings,to his first important work with Sonny Boy Williamson (Alec,or Alex, Miller),on through his Trumpet Records recordings beginning in the 50's,to his Modern Records tracks in the mid-50's,into the 60's with producer Bobby Robinson. In between James' birth and his final recordings is a wealth of information the author has painstakingly researched and uncovered,that has not previously been brought to light in such depth. James comes to life in this book,as does his recording activities,which includes much detail. Starting with "I Believe I'll Dust My Broom", probably heard from Robert Johnson as a mid-tempo country blues,which James updated with additional lyrics,and most importantly,his electric slide guitar,James went on to become a popular artist with several songs in the charts. This was ,besides James' talent,due in large part to his tight little rocking combo,that always filled up any spaces left in the music. To often anything written about James gives short shrift to his backing musicians. Here Franz sheds overdue light on the talents of the musicians known in the beginning as ELMORE JAMES & THE TRIO,or later,ELMORE JAMES & THE BROOMDUSTERS. Along the way Franz delves into other players and music-related people in James' world,which helps give better insight into,and also reveals some of the flavor of,the times. No matter if you're a longtime blues listener,or have recently heard James' music and want to learn more about one of the cornerstones of electric blues-you need this book. Purchase it while it's still available,because it's a worthy addition to your library of musically important blues musicians. After reading it,you'll come away with an added appreciation,and a more in-depth feeling for James,the times he lived in,and most importantly,his timeless music.
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Post by Admin on Apr 8, 2013 10:58:09 GMT -5
Other post-WWII Chicago bluesmen are better known, but the work of Elmore James holds up as well as any of theirs. If he never had the technical accomplishment of, say, Earl Hooker, he did have as much depth of emotional expression as Muddy Waters; just listen to the sweetness of "I Need You" or the pain of "It Hurts Me, Too." The Sky Is Crying: The History of Elmore James contains some of the most important work of a man who still reigns as the king of slide guitar; anyone who wears a bottleneck today owes a debt to James. Highlights include Robert Johnson's "Dust My Broom," which James made his signature tune, as well as the title track, which contains some of the sweetest licks in blues history. --Genevieve Williams
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Post by Admin on Apr 11, 2013 6:30:21 GMT -5
Not only is this a definitive collection for James, his sidekick John Brim did some great harp work alongside him here. Shakey Jake Harris also backed Elmore James on a few tracks didn't he?
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Post by AlanB on Apr 11, 2013 7:28:23 GMT -5
Shakey Jake Harris also backed Elmore James on a few tracks didn't he? Sam Myers you are probably thinking of on a few later Bobby Robinson sessions. Magic Sam used Shakey Jake on a fair number of his Delmark recordings.
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Post by muddylives on Apr 11, 2013 12:14:20 GMT -5
There is also that great session where Elmore backs Junior Wells on harmonica.
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Post by Admin on Apr 12, 2013 10:54:51 GMT -5
There is also that great session where Elmore backs Junior Wells on harmonica. Great session! These historic sessions also feature Louis and Dave Myers, Willie Dixon, Johnnie Jones, Fred Below and Odie Payne Jr. Recorded by United Records in '53 & '54 at Universal Studio in Chicago, eight sides were issued on the subsidiary States label. Delmark's original LP contained twelve performances and now 5 more are added for the CD! Junior's debut recordings as leader include his first recording of "Hoodoo Man Blues". He was still a teenager at the time and had replaced Little Walter in the Muddy Waters band. Down Beat's Pete Welding wrote "In their power, directness, unerring taste and utter consistency of mood, these may well be the most perfectly distilled examples of Wells' music ever recorded, taking their place alongside of those of Waters, Walter, Wolf and other masters of the period. Five stars." Blues Hit Big Town captures genius emerging from one of the greatest blues personalities and harmonica players of all time. Part of our United series. Five stars from Downbeat. Part of our United Series. Song List: 1. Hoodoo Man 2. Cut That Out 3. Junior's Wail 4. Tomorrow Night 5. Ways Like An Angel 6. Eagle Rock 7. Please Throw This Poor Dog A Bone 8. Blues Hit Big Town 9. Lord Lord 10. 'Bout The Break Of Day 11. So All Alone 12. Can't Find My Baby 13. Please Throw This Poor Dog A Bone (Alternate) 14. Junior's Wail (Alternate) 15. Eagle Rock (Alternate) 16. Lord Lord (Alternate) 17. Blues Hit Big Town (Alternate)
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Post by Admin on Mar 28, 2014 21:56:37 GMT -5
In looking through the discograaphy, I noticed that Elmore recorded with the soul guitarist Syl Johnson on Hi Records early in his career.
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Post by AlanB on Mar 29, 2014 1:27:29 GMT -5
In looking through the discograaphy, I noticed that Elmore recorded with the soul guitarist Syl Johnson on Hi Records early in his career. That same year (1957) he also recorded two session with Billy Boy Arnold. Between 1959 and 1962 he recorded as Sylvester Thompson for Federal.
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Post by Admin on Mar 29, 2014 20:48:08 GMT -5
In looking through the discograaphy, I noticed that Elmore recorded with the soul guitarist Syl Johnson on Hi Records early in his career. That same year (1957) he also recorded two session with Billy Boy Arnold. Between 1959 and 1962 he recorded as Sylvester Thompson for Federal. What were the recordings Alan? Was Elmore used as a slide guitarist?
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Post by AlanB on Mar 30, 2014 4:01:17 GMT -5
You'll find the info regarding EJ's role as "accompanist in Stefan's EJ discography. Big Joe Turner, Jr Wells, JT Brown, Sam Myers/Big Moose Walker (Bobby Robinson recordings in 1961 which didn't see release until 1968/1980) Or am I at cross purposes? www.wirz.de/music/jamelmfrm.htm
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Post by AlanB on Jun 6, 2014 1:36:09 GMT -5
Was asked to scan the attached. Often cited but rarely in its entirety. Attachments:EJmeredith.pdf (73.73 KB)
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Post by blueescorpio2000 on Jun 6, 2014 3:54:29 GMT -5
Not only is this a definitive collection for James, his sidekick John Brim did some great harp work alongside him here. To my knowledge guitarist John Brim never recorded as a sideman for Elmore James.
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Post by AlanB on Jun 6, 2014 4:16:59 GMT -5
Not only is this a definitive collection for James, his sidekick John Brim did some great harp work alongside him here. To my knowledge guitarist John Brim never recorded as a sideman for Elmore James. Quite so. The myth has come about because in 1968 Blue Horizon issued an LP entitled Tough that had James on one side and Brim the other. See Stefan's superb Brim discography where one can see whom Brim did accompany. www.wirz.de/music/brimfrm.htm
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Post by blueescorpio2000 on Jun 6, 2014 6:47:26 GMT -5
This points up that memory can be faulty, I seem to remember having read that Mr. Brim was the harp man there. So that begs the question: who WAS Mr. James' harp man? Perhaps Sam Myers? Sonny Boy Williamson (Rice Miller) on 'Dust My Broom' (Trumpet 146) Sam Myers played the harmonica and drums in Elmore's band.He blows the harmonica on 'Look On Yonder Wall' (Fire 504) I forgot to mention: John's spouse, Grace Brim, played drums and harmonica on some of John Brim's recordings.
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Post by Admin on Jul 16, 2014 6:50:03 GMT -5
Duane Allman, in an inteview published by Jas Obrecht said: "...And slide? At that point, I don’t think Duane was playing slide. He started really getting seriously into the instrument, aside from just sitting around the house or something, just about the time the Allman Brothers got together. I think that’s when he first started playing slide onstage. Do you know how he got his style down? Well, Robert Johnson. You’ve heard that name a million times, but he’s influenced so many people. I guess that he was probably one of the biggest influences on Duane. Who’s the guy, the slide player? Elmore James! He got really into Elmore James a lot for the electric part of it. You know, Robert Johnson never played any electric, of course. So Elmore James was a big influence on his electric slide. I heard a story that Duane used to have Twiggs play him Elmore James records. Twiggs would play a couple of phrases, pick the needle up, and then Duane would try to learn them. And they’d do that all day. Well, Duane didn’t exactly study slide that way. He would listen to a lot of albums, just sitting around in the daytime, and then pick up a guitar and play along with them. But he didn’t try to copy them note-for-note. He just kind of absorbed it..." jasobrecht.com/duane-allman-1981-dickey-betts-interview/
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