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Stop look and listen - I hear somebody calling me. It's the voice of the blues calling me back to my used to be - Irene Scruggs, Voice of the Blues

Author Topic: 1950's electric blues fans?  (Read 22690 times)

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Offline dave stott

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Re: 1950's electric blues fans?
« Reply #30 on: November 01, 2007, 07:55:20 AM »
I also just recently got turned onto a Texes Blues man who started out in the late 1930's and played well into the 1950s...

Smokey Hoggs.....

great R & B stuff with an influence from Big Bill and Wheatstraw..

the limited infor that I found on the internet seems to indicate he had trouble keeping a beat and was helped by a great background band.... But I like his stuff!!

Dave


Dave

Offline RobBob

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Re: 1950's electric blues fans?
« Reply #31 on: November 01, 2007, 09:26:13 AM »
At risk of pedantry, Robob, it was Walter Horton on Jimmy Rogers' "Walkin".

Yes, it was Big Walter.  I stand corrected.   Still a great break and one of my favorites.

RobBob

Offline dj

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Re: 1950's electric blues fans?
« Reply #32 on: November 01, 2007, 10:44:01 AM »
Quote
the limited info that I found on the internet seems to indicate he had trouble keeping a beat

I wouldn't say Smokey Hogg had trouble keeping a beat.  Rather, like a lot of musicians from Charley Patton to Lightnin' Hopkins, he changed chords when he felt the change rather than adhering to a strict 12 bar format.  His backing band didn't always agree with this approach.   :)  I haven't heard it in a while, but if I recall correctly there's a song he recorded for Aladdin or Imperial where he berates one band member for not listening for the chord change.
   

Offline Bunker Hill

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Re: 1950's electric blues fans?
« Reply #33 on: November 01, 2007, 10:48:12 AM »
I also just recently got turned onto a Texes Blues man who started out in the late 1930's and played well into the 1950s...

Smokey Hoggs.....

great R & B stuff with an influence from Big Bill and Wheatstraw..

the limited infor that I found on the internet seems to indicate he had trouble keeping a beat and was helped by a great background band.... But I like his stuff!!
Poor old Andrew "Smokey" Hogg, in the 60s he was the 'boring postwar bluesman" that every UK fan loved to hate. The late Mike Leadbitter did his best to change that opinion via the pages of Blues Unlimited pointing out that he was a big star with black purchasers of his 78s - but that didn't cut any ice. Had Mike lived he'd have been amazed to see that Ace over the years have released three CDs of Hogg material, a good percentage of which previously unreleased. I'm a great fan of Smokey to the tune of six LPs of him...as well as the CDs.

Offline Bunker Hill

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Re: 1950's electric blues fans?
« Reply #34 on: November 01, 2007, 11:44:50 AM »
Thanks blueshome - what's the best CD release of the Shines/Big Walter JOB sides?
Go to http://www.wirz.de/music/shinefrm.htm and scroll down to the CD era (circa 1983ish) and after that you'll come across various JOB CDs. I'm sure somebody can advise on the worth, or otherwise. I'm still stuck in the Flyright JOB LP reissuetimewarp.  ;D

Offline blueshome

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Re: 1950's electric blues fans?
« Reply #35 on: November 02, 2007, 03:41:29 AM »
I recommend the Westside release "Evening Shuffle" for the JOB's.  Just about any CD on Big Walter is good, but his States sides issued on Delmark are great and the Alligator is fine too.

Offline dj

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Re: 1950's electric blues fans?
« Reply #36 on: November 02, 2007, 04:35:24 AM »
Quote
I recommend the Westside release "Evening Shuffle" for the JOB's.

Do you know if the Westside disk has improved at all on the sound of the old Flyright and Paula CDs?  They seem to have been taken from the same source, and both have fairly listless sound.     

Offline blueshome

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Re: 1950's electric blues fans?
« Reply #37 on: November 05, 2007, 12:12:14 AM »
The Westside is claimed to be dubbed from the original master tapes, the sound is OK, but then I'm so used to listening to the pre-war stuff.

Offline dj

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Re: 1950's electric blues fans?
« Reply #38 on: November 05, 2007, 02:07:55 AM »
I've heard that the "original master tapes" from the JOB label are mostly in pretty bad shape due to Joe Brown's habit of taking them home and playing them over and over.  Thus the tape dropouts in Johnny Shines's "Fshtail".
 

Offline rjtwangs

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Re: 1950's electric blues fans?
« Reply #39 on: January 15, 2008, 01:16:49 PM »
FWIW, I have a double cd set called 'Rough Treatment, The J.O.B. Records Story' on Westside. It has 54 tracks, and a nice 11 page booklet with notes by Neil Slaven. I think it sounds pretty good.

RJ

Offline Rivers

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Re: 1950's electric blues fans?
« Reply #40 on: November 14, 2008, 06:44:53 PM »
From the 'Great Sessions' thread, and unezrider and Johnm mentioned Otis Rush's totally excellent Cobra sessions here already.

I picked up Slim Harpo - The Excello Singles Anthology recently, double CD recommended by the same Detroit blues hound that turned me on to Otis Rush.

Not all '50s, Slim recorded for Excello from '57 to '71. All musicians would find these recordings compelling. Slim has this incredibly light touch on everything he does. Great, gentle voice, understated harp, his approach to music is a breath of fresh air. The arrangements totally kick butt, lot of space, melodic as hell, great musical ideas. Get it!

« Last Edit: November 14, 2008, 06:48:37 PM by Rivers »

Offline Bunker Hill

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Re: 1950's electric blues fans?
« Reply #41 on: November 15, 2008, 12:05:47 AM »
From the 'Great Sessions' thread, and unezrider and Johnm mentioned Otis Rush's totally excellent Cobra sessions here already.

I picked up Slim Harpo - The Excello Singles Anthology recently, double CD recommended by the same Detroit blues hound that turned me on to Otis Rush.

Not all '50s, Slim recorded for Excello from '57 to '71. All musicians would find these recordings compelling. Slim has this incredibly light touch on everything he does. Great, gentle voice, understated harp, his approach to music is a breath of fresh air. The arrangements totally kick butt, lot of space, melodic as hell, great musical ideas. Get it!
Mike Leadbitter was a big champion of the Slim Harpo cause. Here's an early piece of flag waving from R&B Scene, February 1965 (p 6, 14 & 16) which turned me on to the music of Slim Harpo.

BUZZING WITH THE KING BEE
The Slim Harpo Story
BY MIKE LEADBITTER AND JOHN BROVEN

Much has been said about the Excello label, and its artists, but, as in so many instances, a lot of fiction has crept in with the facts. Before saying anything about Slim Harpo, I think that it is necessary to say something about the man who was, and still is, responsible for recording him. This man is Jay Miller?record shop owner, talent scout, and song writer, who comes from the small Louisiana town of Crowley.

Miller's shop has now grown into a recording studio and office for his several record labels. Although he records anything, and professes a preference for C & W music, it is through his blues recordings that he has become famous in England. Through his contract to record blues for Excello, plus the recordings that appear on his own labels like Feature, Rocko, Zynn, a steady stream of Louisiana artistes have become nationally known. These artists not only record solely for Miller, but are also managed by him, and their songs copyrighted through his Jamil Music Co., Lightnin' Slim, Lazy Lester, Lonesome Sundown, Whispering Smith, Leroy Washington, and scores of others owe their all to him. Slim Harpo comes from this same recording environment, though he has something the others haven't yet. This is the credit for having a million seller in the "pop" field called "Rainin' In My Heart."

Slim was born in the parish of West Baton Rouge on February 1Ith, 1924, and christened James Moore. The art of the harmonica came naturally to him, and by the time he was in his 'teens he was proficient enough to entertain his school mates. Then, whilst in his 10th grade, tragedy struck. He lost both his mother and father, and became the sole supporter of a brother and three young sisters. He had no alternative but to leave school, and started work as a stevedore in New Orleans.

Later he returned to Baton Rouge to work as a labourer and in the evenings would play harp in the local clubs, building up his repertoire, and gaining much valuable experience. It was in one of these clubs that Jay Miller, out on a talent hunting trip, found him in 1957. Miller, excited by his discovery took him to Crowley and recorded him for the Excello label. His first record?the very distinctive "I'm A King Bee" became an immediate hit. This driving song with its lyrics devoted to sexual prowess is still in my opinion his greatest record.

His second release was entitled "Strange Love" and was issued in 1958, but was mediocre compared with its predecessor, and the same can be said for his next, "You'll Be Sorry One Day." Then came another two classics?"Buzz Me Babe," and "Blues Hang over." Slim's strange, almost nasal vocal style coupled with some really beautiful harp work turned these into two superb blues. Slim is at his best on slow, dragging numbers featuring heavy bass guitar, and these two, coupled with "King Bee," made him a name to be reckoned with on the R & B scene.

It is a pity that Slim's first excursion into the pop field in 1961 produced the million selling "Rainin' In My Heart." Although this was a great record as far as pop records go, it turned Slim away from the blues to the new, and more lucrative market, that appeared before him. Although no one could blame him for this, its effect was saddening to the lovers of the "down-home" Slim Harpo. The other effect of this success was that Slim left Baton Rouge on a long series of engagements and could not be induced back to the studio to cut a follow-up. Although Excello quickly issued an L.P. entitled "Rainin' In My Heart" plus a single to cover up, it was not until the end of last year that the money trail ended and Slim was recorded again. The result of this was an attempt to cash in on his two big hits, and we now have "Little Queen Bee," and "Still Rainin' In My Heart." Both of these are well done, but are nothing compared to the originals.

Until the day when someone brings out Slim's L.P. in England, I urge anyone who hasn't got it to have a good try. Except for a couple of below average items, the rest, including his best issued items, and some great unissued ones such as "My Home Is A Prison," (a brilliant remake of the Lonesome Sundown success), make this a buy I would recommend to anyone. It is hoped that Jay Miller will allow Slim to record as he did in his early days once more, and thus provide us with another memorable blues. It makes me sorry to see an artist of such tremendous potential going to waste through no fault of his own. Now that Stateside have issued three of his songs on the L.P. "Authentic R & B," perhaps we can persuade them to give us more. We certainly hope so!

Discography
All Slim sides were recorded in Crowley between 1957 and 1964. Usually his backing consists of lead guitar, bass guitar, drums, and occasionally sax and piano added. The people who back him include the following; Al Foreman (lead guitar), Bobby McBride (bass guitar), Warren Storm (drums), Katy Webster (piano), and Lionel Torrence (tenor sax). Slim has played harp on all his records up until now except on "My Home Is A Prison," on which Lazy Lester is heard.

Excello 2113?I'm A King Bee/I Got Love If You Want It.
Excello 2138?Wonderin' And Worryin'/Strange Love.
Excello 2162?You'll Be Sorry One Day/One More Day.
Excello 2171?Buzz Me Babe /Late Last Night.
Excello 2184?Blues Hangover /What A Dream.
Excello 2194?Rainin' In My Heart/Don't Start Cryin' Now.
Excello 2239?Buzzin'/I Love The Life I'm Livin'
Excello 2246?I Need Money (Keep Your Alibis)/Little Queen Bee.
Excello 2253?We're Two Of A Kind/Still Rainin' In My Heart.

Excello L.P. 8003?"Rainin' In My Heart."
Rainin' In My Heart/Blues Hangover/Bobby-Sox Baby/I Got Love If You Want It/Snoopin' Around/Buzz Me Babe/I'm A King Bee/What A Dream/Don't Start Cryin'Now /Moody Blues/My Home Is A Prison/Dream Girl.


Offline Rivers

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Re: 1950's electric blues fans?
« Reply #42 on: November 15, 2008, 09:21:11 AM »
The downside of singles collections is the songs are too short... both the Rush and Harpo collections leave you wanting to hear them stretch out. Although I guess they packed their best ideas into around 3 minutes you get the impression there was so much more to hear in a live format.

Harp players should listen to Slim, he knew when not to play. I end up imagining the harp lines in my head. Slim's seemingly dogged resistance of the temptation to play cliched phrases gets the listener more involved. He's unusual all round, looks like an accountant, that matter-of-fact voice and smooth harp.

The other thing I love about both the Rush and Harpo recordings are the mixes. Often the lead guitar sounds far away in the room, letting the natural echo and other ambiance create the atmosphere. Recording techniques of the time I guess. Another group of musicians from that ere I love to listen to that had that live ambiance happening were the Nashville rockabilly A team, Grady Martin and Bob Moore backing Johnny Burnette for example.

Offline unezrider

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Re: 1950's electric blues fans?
« Reply #43 on: November 15, 2008, 04:25:36 PM »
hello friend,
"Harp players should listen to Slim, he knew when not to play. I end up imagining the harp lines in my head. Slim's seemingly dogged resistance of the temptation to play cliched phrases gets the listener more involved." - that's a great way to look at it, rivers. any player that isn't playing what, or when you expect them to, is in turn more interesting & exciting to listen to. i pulled out my excello records the best of slim harpo, after reading the last few posts. truly some grade-a stuff!
chris
"Be good, & you will be lonesome." -Mark Twain

Offline Rivers

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Re: 1950's electric blues fans?
« Reply #44 on: November 15, 2008, 06:11:44 PM »
Now if I could just follow my own advice...

 


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