Tuesday, July 22, 2014

Frits's tapes Number 57 & 58(Corrected)

Tape 57:

 Corrected Tape 58:

Tape 58 now has the missing track Hoochie Coochie Man and correct tagging. Wish I had the Eddie King 45 for the jukebox, it's great.
This time round it's all the Kings from Frits.

Sunday, July 20, 2014

Visitors requests....maybe you can help out

From now on I'll be using this post for your requests that I'll copy from the Chatbox. I'll do my best to keep it up te date.You may also leave requests, comments  and replies in the usual way and after moderation they will appear. As this posting will drop down the list with every new posting I will update it once a week to insure that it stays visible and near the top. Comments will be deleted regulary to keep them up to date.
Please do not request new or easy to find CD's as they will not be posted here. There are other excellent blogs that can help you out with your request.
That all been said we will have to start from scratch with the requests.

02-06-2014 Marineband:  Big Joe Turner 'Boss Man Of The Blues' LP with Rod Piazza.
08-06-2014 Clare Quilty: Allen Bunn – Baby I'm Gonna Throw You Out & Billy Boy Arnold - Hello Stranger
12-06-2014 Gerard Herzhaft/Blue Eye: I'm looking for a .mp3 copy of only one song by Calvin Leavy:Give me your loving loving loving (originally on a Soul Beat 45 116).
Also, I have a copy that was sent to me of a Calvin Leavy number "One minute before midnight" that no discography includes. Is it another title for "It's a miracle" (I feel that but...)
13-06-2014 Owlface: Victoria Spivey and her Blues - Spivey Records LP-1002
18-06-2014: MarcD: Jody Williams - Time for a change / Lonely without you (Yulando 8665) Needed for research
07-07-2014: Steve626: Ronnie Hawkins - Rrrracket Time, with James Cotton
17-07-2014: Tracker: any Johnny Adam singles? I'm looking specifically for "All The Good Is Gone" b/w "Chasing Rainbows" came out on Hep' Me Records (138) in 1977
Thanks go to DrHepCat
24-07-2014 Marc: Bayou Rhythm & Blues Shuffle Vol. 3 on Goldband
24-07-2104 Anonymous: Guitar Shorty "On The Rampage" Olive Branch Blues LP - this is Guitar Shorty/David Kearney

Various - Bachelor Blues

Nice comp of tracks taken from the CJ catalog. Track listing courtesy of Stefan Wirz.

Bachelor Blues

- I Know You Don't Love Me - Homesick James [actually Hound Dog Taylor]
- Come Back - Little Mack
- Bachelor Blues - Rudy Robinson
- This House - Carl Jones & Betty Everett
- Blues Falling - Jimmy Rogers
- Juanita - Lee Jackson
- Alley Music - Hound Dog Taylor

- Why Did You Have To Go - Betty Everett
- My Walking Blues - Little Mack
- Jumpin' At The Cadillac - Little Mack & James Cotton
- From Now On - Slim Willis
- You're The Sweetest Girl I Ever Knew - Slim Willis
- Her Spare - Carl Jones
- Act Like You Love Me - Jimmy Rogers

George "Wild Child" Butler - Wild Child

A product of the "Great Migration," George "Wild Child" Butler (1936-2005) left his native Alabama for Chicago, Illinois, where he became a noted blues performer and harmonica player in that city's blues tradition. He referred to his personal style as "the swamp sound," which was characterized by his gutsy baritone growl.
Autaugaville native George “Wild Child” Butler (1936- ) George "Wild Child" Butler Butler, the youngest of nine children, was born on October 1, 1936, in Autaugaville, Autauga County, to a Beatrice Butler, a sharecropper; his father was not present in his life. He displayed musical talent from his earliest days: at age five, Butler began singing at parties thrown by his family for their friends. Indeed, it was his habit of crawling across the floor and pulling at the skirts of the women guests at these parties that earned Butler his ubiquitous, lifelong nickname, "Wild Child." Butler's youthful mischief passed, but his musical talent blossomed. When he was 12, Butler fashioned a makeshift harmonica out of a can of Prince Albert tobacco and quickly learned to play the instrument. Perhaps as a result of this self-education, Butler played the harmonica upside-down for his entire career.
Butler lived most of his childhood in Alabama, save for a few years in the 1940s when he lived with his sister and mother in Chicago. In the mid-1950s, Butler returned to Chicago, following the path of the "Great Migration" that brought millions of African Americans to the urban North and that made Chicago the center of blues music in the 1950s. Butler quickly began playing around the city's bustling network of blues venues, as well as in Detroit with stars like John Lee Hooker and Sonny Boy Williamson II (Aleck "Rice" Miller). Butler also occasionally performed in Alabama as well. In 1963, he made his first recording of two tunes he wrote—"Aching All Over"/"Down In The Chili"—for Sharp Records, a small independent label based in Montgomery. Despite the early promise, Butler's tenure at Sharp was unfulfilling and unprofitable. In 1968, he left the label to begin recording for Jewel Records, with whom he recorded 20 tracks. While working for Jewel, Butler also recorded several tracks at Chess Studios, the legendary Chicago recording house that produced many of the key recordings in Chicago blues and early rock and roll. By 1968, Chess was past its prime, but Butler was able to record with a group of marquee sidemen, including Jimmy Dawkins, Willie Dixon, and Big Walter Horton. Jewel surprisingly never released any of the sides Butler recorded at Chess. Instead, the label leased them out to other labels, including Charly Records, which finally released an album's worth of the sessions under the title Open Up Baby. Butler claimed that he received no payment under this arrangement.
Although his recording experiences had been negative, Butler remained popular on the performance circuit. By the late 1960s, he was performing frequently in the musically rich corridor between Houston, Texas, and New Orleans, Louisiana. He even played on a few sessions with Houston native Sam "Lightnin'" Hopkins during this period. The journeyman musician occasionally made a few recordings, including an album for Mercury Records, Keep On Doing What You're Doing, which produced his signature song, "Gravy Child." In 1977, Butler released Funky Butt Lover on the TK Records label featuring Pinetop Perkins and Jimmy Rogers. It was popular enough to be reissued later by blues imprint Rooster. Butler, however, made most of his money and his fame touring, both in the United States and abroad. In 1981, he and his wife Elaine resettled in Windsor, Ontario, Canada, across the border from Detroit.
He kept up his active performing schedule, and continued to record on a variety of independent labels. His releases include Lickin' Gravy, released first on MC Records in 1989 and re-released in 1998, two releases on Bullseye Blues, These Old Men Blues (1991), Stranger (1994), and Sho' 'Nuff, released on APO Records in 2001. When asked about whether he would ever modify his classic sound for the sake of potential commercial success in a 2001 interview, Butler was quick to rebuke the notion.
Butler's link between the larger blues tradition and his personal place within it reflected his ability to distinguish himself as an artist and performer while placing his music within a continuum of sounds, songs, and musicians. Butler remained a true believer in the "rootsy" blues that was his trademark up until his death from a pulmonary embolism in Windsor, on March 1, 2005; he was buried there shortly thereafter.
Although George "Wild Child" Butler is perhaps not as famous as many of his contemporaries, his life and work is as much a testament to the continuing power of blues traditions as any of his more well-known counterparts.


Bukka White - Memphis Hot Shots

Nearly thirty years before tastemakers at Fat Possum capitalized on the scheme of fusing garage rock with country blues Bukka White cut this asymmetrical album. The aged bluesman was still riding the swell of his “rediscovery”, regularly appearing at Folk and Blues festivals on both sides of the Atlantic. Sensing the Zeitgeist he expressed an interest in recording with a backing band, preferably comprised of young turks. Trouble was, like other idiosyncratic troubadours, White’s music worked best as a solitary affair or with minimal (usually washboard) accompaniment. British producer Mike Vernon honored the desire anyway and organized a pick-up band of second guitar, harmonica, piano, string-bass, drums and washboard. Two of the sidemen even adopted the colorful monikers of Harmonica Boy and Anchor for the session. All were mere fractions of their frontman’s age.
The set list is a predictable mix of White’s “hits” as well as ‘standards’ sifted through the Buddha-smiling raconteur’s improvisatory sieve. White called his extemporaneous creations “sky songs,” a phrase touching on his tendency to pluck ad-lib verses and chords from out of thin air. The band responds to his unscripted anecdotal ditties with varying efficacy. The most startling collision occurs early on White’s signature “Aberdeen, Mississippi Blues,” a train wreck on the surface that reveals an odd syllogistic solidarity within the tangled wreckage. Here it almost sounds as if Bukka layed down his vocal and guitar tracks first and the band overdubbed their parts on top days later with the tape decks set to the wrong speed. Chugging backbeat drums, slapping bass and wailing harmonica approximate a speeding locomotive while White resolutely rides a completely different rail. As incongruous as the fit is there are improbable moments where everything synchs up and the effect is electrifying.
The band sits out on a handful of tracks too, like the dour “Drifting Blues” and harrowing “(Brand New) Decoration Blues” ideal vehicles for White’s gravelly bark and hard-strumming fret-play. On the latter he refurbishes the habitual lyrics with a string of virginal verses, slapping his surname on the song credit to boot. With “Give Me An Old, Old Lady” White acquiesces to his band, whooping and grooving on a stomping rock beat and rolling out the lyric: “Got an old lady, sittin’ in my bed, when I come ‘round, she gonna rub my head…” without the least bit of bashfulness. White’s Pre-War sides for Vocalion are a benchmark of his career (and arguably Pre-War blues in general), but this Blue Horizon set makes for a very pleasing detour and anomaly. One lingering question: is that Bukka in the spacesuit or some defacto substitute?
(review by Bagatellen).


Thursday, July 17, 2014

Katie Webster - Texas Boogie Queen Live + Well

Recorded live before a very enthusiastic audience in Munich, Germany on Katie's first European tour in 1982.


Tuesday, July 1, 2014

Thursday, June 26, 2014

Jimmy Witherspoon - The Blues Singer

One of the great blues singers of the post-World War II period, Jimmy Witherspoon was also versatile enough to fit comfortably into the jazz world. Witherspoon was born on August 8, 1920, in Gurdon, AR. As a child, he sang in a church choir, and made his debut recordings with Jay McShann for Philo and Mercury in 1945 and 1946. His own first recordings, using McShann's band, resulted in a number one R&B hit in 1949 with "Ain't Nobody's Business, Pts. 1 & 2" on Supreme Records. Live performances of "No Rollin' Blues" and "Big Fine Girl" provided 'Spoon with two more hits in 1950.The mid-'50s were a lean time, with his style of shouting blues temporarily out of fashion; singles were tried for Federal, Chess, Atco, Vee Jay, and others, with little success. Jimmy Witherspoon at the Monterey Jazz Festival (HiFi Jazz) from 1959 lifted him back into the limelight. Partnerships with Ben Webster or Groove Holmes were recorded, and he toured Europe in 1961 with Buck Clayton, performing overseas many more times in the decades to follow; some memorable music resulted, but Witherspoon's best 1960s album is Evening Blues (Prestige), which features T-Bone Walker on guitar and Clifford Scott on saxophone. As the '70s began, Witherspoondecided to take a short break from live performances, settled in Los Angeles, took a job as a disc jockey, and continued making records. In 1971Witherspoon teamed up with former Animals vocalist Eric Burdon for the album Guilty. Unfortunately it sold poorly. By 1973 his short retirement from live performances was over. Witherspoon was ready to get back on the road and assembled an amazing band featuring a young Robben Ford on lead guitar. Those live shows had received positive reviews, rejuvenating Witherspoon's move toward a definite rock/soul sound. He traveled to London in 1974 to recordLove Is a Five Letter Word with British blues producer Mike Vernon. Vernon had produced critically acclaimed British blues albums by John Mayall, Fleetwood Mac, and Ten Years After. By the early '80s, Witherspoon was diagnosed with throat cancer. Although he remained active and was a popular concert attraction, the effect of the disease on his vocals was obvious. Witherspoon passed away on September 18, 1997, at the age of 77.
(review form Allmusic-Bob Porter). Plucked from the web to fill a request.

Sunday, June 22, 2014

Frits's Tapes Number 55 & 56

Thank you Frits and hope you all like King Solomon and Al King.

The  link for tape 56 has been corrected and thank you for the letting me know.

Various - Fillin' In Blues

Rare Country Blues: 1928-1930
- Hesitation Blues (Jim Jackson 1930)
- John Henry - part 2 (Furry Lewis 1929)
- Last Chance Blues (Cannon's Jug Stompers 1929)
- The Rooster Crowing Blues (Cannon's Jug Stompers 1929)
- Narrow Face Blues (Washboard Walter 1930)
- Insurance Man Blues (Washboard Walter 1930)
- It's Tight Like That (Slim Bartin And Eddie Mapp 1929)
- Sweet Bunch Of Daisies (El Watson 1928)

Obscure Barrelhouse Piano: 1928-1930
- Cow Cow Blues (Cow Cow Davenport 1928)
- Struttin' The Blues (Cow Cow Davenport 1929)
- Corinne Corinna Blues (James 'Boodle It' Wiggins 1930)
- Gotta Shave 'Em Dry (James 'Boodle It' Wiggins 1930)
- Give Us Another Jug (Piano Kid Edwards 1930)
- Piano Kid Special (Piano Kid Edwards 1930)
- Bust Blues (Ishman Bracey 1930)
- Louisiana Bound (Charley Taylor 1930)
- Too Damp To Be Wet (Charley Taylor 1930)
- Where My Shoes At?
(Charley Taylor 1930)