Blues

Blues Legends - Dinah Washington

2010-03-18T12:01:42Z

Blues Legends - Dinah Washington


1. Go Pretty Daddy (Sanford, Medley) - 2:23
2. TV is the Thing (Sanford, Medley) - 2:27
3. Feel like I Wanna Cry (Kirkland) - 3:19
4. Lean Baby (May, Alfred) - 2:17
5. Never, Never (Kirkland, Luke) - 2:15
6. I Ain't Goin' To Cry Anymore (Sanford, Medley) - 2:38
7. Am I Blue (Akst) - 3:14
8. Pennies from Heaven (Johnson, Burke) - 2:17
9. Set Me Free (Sanford, Medley) - 2:29
10. Since My Man Had Gone and Went (Merrick) - 2:03
11. My Man's An Undertaker (Kirkland, Thomas) - 2:30
12. My Song (Hendersun, Brown) - 2:56
13. Mad about the Boy (Coward) - 2:59
14. Stormy Weather (Arlen, Koehler) - 3:02
15. Ain't Nothin' Good (Fox, Friedman) - 2:54
16. I Challenge Your Kiss (Paul, Gary) - 3:11
17. I'm Crying (Sherry, Baron, Koehler) - 2:42
18. I Can't Face the Music (Bloom, Koehler) - 2:47
19. Don't Get Around Much Anymore (Russell, Ellington) - 3:08
20. Fat Daddy (Sanford, Medley) - 2:25

Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century -- beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop -- and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love. She has had a huge influence on R&B and jazz singers who have followed in her wake, notably Nancy Wilson, Esther Phillips, and Diane Schuur, and her music is abundantly available nowadays via the huge seven-volume series The Complete Dinah Washington on Mercury.

Born Ruth Lee Jones, she moved to Chicago at age three and was raised in a world of gospel, playing the piano and directing her church choir. At 15, after winning an amateur contest at the Regal Theatre, she began performing in nightclubs as a pianist and singer, opening at the Garrick Bar in 1942. Talent manager Joe Glaser heard her there and recommended her to Lionel Hampton, who asked her to join his band. Hampton says that it was he who gave Ruth Jones the name Dinah Washington, although other sources claim it was Glaser or the manager of the Garrick Bar. In any case, she stayed with Hampton from 1943 to 1946 and made her recording debut for Keynote at the end of 1943 in a blues session organized by Leonard Feather with a sextet drawn from the Hampton band. With Feather's "Evil Gal Blues" as her first hit, the records took off, and by the time she left Hampton to go solo, Washington was already an R&B headliner. Signing with the young Mercury label, Washington produced an enviable string of Top Ten hits on the R&B charts from 1948 to 1955, singing blues, standards, novelties, pop covers, even Hank Williams' "Cold, Cold Heart." She also recorded many straight jazz sessions with big bands and small combos, most memorably with Clifford Brown on Dinah Jams but also with Cannonball Adderley, Clark Terry, Ben Webster, Wynton Kelly, and the young Joe Zawinul (who was her regular accompanist for a couple of years). In 1959, Washington made a sudden breakthrough into the mainstream pop market with "What a Diff'rence a Day Makes," a revival of a Dorsey Brothers hit set to a Latin American bolero tune. For the rest of her career, she would concentrate on singing ballads backed by lush orchestrations for Mercury and Roulette, a formula similar to that of another R&B-based singer at that time, Ray Charles, and one that drew plenty of fire from critics even though her basic vocal approach had not changed one iota. Although her later records could be as banal as any easy listening dross of the period, there are gems to be found, like Billie Holiday's "Don't Explain," which has a beautiful, bluesy Ernie Wilkins chart conducted by Quincy Jones. Struggling with a weight problem, Washington died of an accidental overdose of diet pills mixed with alcohol at the tragically early age of 39, still in peak voice, still singing the blues in an L.A. club only two weeks before the end. ---Richard S. Ginnel, allmusic.com

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Blues Legends - Dinah Shore

2010-03-18T11:36:34Z

Blues Legends - Dinah Shore


1. Cickery Chick (Dee, Lippman) - 1:35
2. Beale Street Blues (Handy) - 1:17
3. Sleighride In July (Burke, Van Heusen) - 2:08
4. Coax Me A Little Bit (Tobais, Simon) - 3:01
5. Summertime (Du Bose, Heyword, Gershwin) - 2:47
6. There'll Be Some Changes Made (Higgins, Overstreet) - 2:10
7. Carousel Medley: What's the use of Wonderin'/
Just is Bustin' Out All Over/If I Loved You - 5:31
8. My Romance (Rodgers, Hart) - 3:13
9. Who's Sorry Now (Kalmar, Ruby, Snyder) - 2:09
10. Shoo Fly Pie And Apple Pan Dowdy (Gallop, Wood) - 3:10
11. I Can't Begin To Tell You (Warren, Monaco) - 2:59
12. Blues In The Night (Arlen, Mercer) - 3:11
13. Mood Indigo (Ellington ,Mills, Bigard) - 3:07
14. Body And Soul (Heyman, Sour, Eyton, Green) - 2:51
15. Exactly Like You (Fields, McHugh) - 1:47
16. Ten Little Fingers (Pease, White, Shuster, Nelson) - 1:28
17. My Dreams Are Getting Better All The Time (Curtis, Muzzy) - 1:19
18. Love Me Or Leave Me (Donaldson, Kahn) - 3:40
19. Shoo-Shoo Baby (Moore) - 2:53
20. My Heart Stood Still (Hart, Rodgers) - 1:40

One of America's most popular entertainers long after her mid-'40s commercial peak, Dinah Shore was the first major vocalist to break away from the big-band format and begin a solo-billed career. During the '40s, she recorded several of the decade's biggest singles -- "Buttons and Bows," "The Gypsy," and "I'll Walk Alone" -- all of which spent more than a month at number one on the Hit Parade. After launching a television variety series in 1951, Shore appeared on one program or another, with few gaps, into the 1980s.

Born in rural Tennessee, Dinah Shore was performing on Nashville radio while still a teenager. Her professional career later took her to New York, where she sang with Xavier Cugat. After failing auditions with Benny Goodman and Tommy Dorsey however, she decided to simply become a solo singer. Shore signed to Bluebird, and recorded several hits during 1940-41, including "Yes, My Darling Daughter," "I Hear a Rhapsody" and "Jim." Her first million-seller came in 1942 with the prototypical blues crossover nugget, "Blues in the Night." Later that year, she moved to Victor and hit big with "You'd Be So Nice to Come Home To" and her first number one hit, 1944's "I'll Walk Alone." Shore also began appearing in films, including 1944's Up in Arms and 1946's Till the Clouds Roll By.

The late '40s proved to be her most popular era for recording. Between 1946 and 1949, she hit big with several songs, including "The Gypsy," "I Love You for Sentimental Reasons," "Anniversary Song," "I Wish I Didn't Love You So," "Buttons and Bows" and "Dear Hearts and Gentle People." Though her records didn't chart as high during the '50s, Dinah Shore enjoyed even more exposure with her top-rated variety show, The Dinah Shore Chevy Show. For many, Shore's opening and closing every show with "See the USA in your Chevrolet, America's the greatest land of all" practically defined the '50s. Her Chevrolet sponsorship lasted until 1963, but she returned in the '70s with a new format, the daytime talk-show. During the 1980s, she began performing once again, but returned to television once more with a series that ran for two years. She died of cancer in 1994. ---John Bush, allmusic.com

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Blues Legends - Brownie McGhee

2010-03-18T11:03:07Z

Blues Legends - Brownie McGhee (2007)


1. Not Guilty Blues (W.B. McGhee) - 2:36
2. Coal Miner Blues (W.B. McGhee) - 2:45
3. Back Door Stranger (W.B. McGhee) - 2:43
4. Step It Up And Go No. 2 (W.B. McGhee) - 2:45
5. Got To Find My Little Woman (W.B. McGhee) - 2:31
6. Dealing With The Devil (W.B. McGhee) - 2:35
7. I'm A Black Woman's Man (W.B. McGhee) - 2:51
8. Woman, I'm Done (W.B. McGhee) - 2:54
9. Death Of Blind Boy Fuller (W.B. McGhee) - 2:59
10. Picking My Tomatoes (W.B. McGhee) - 2:44
11. I'm Callin' Daisy (W.B. McGhee) - 2:37
12. Me And My Dog Blues (W.B. McGhee) - 2:43
13. Born For Bad Luck (W.B. McGhee) - 2:52
14. Step It Up And Go (W.B. McGhee) - 2:33
15. Let Me Tell You 'Bout My Baby (W.B. McGhee) - 2:41
16. Prison Woman Blues (W.B. McGhee) - 2:35
17. Be Good To Me (W.B. McGhee) - 2:48
18. My Barkin' Bulldog Blues (W.B. McGhee) - 2:33

Brownie McGhee's death in 1996 was an enormous loss in the blues field. Although he had been semi-retired and suffering from stomach cancer, the guitarist was still the leading Piedmont-style bluesman on the planet, venerated worldwide for his prolific activities both on his own and with his longtime partner, blind harpist Sonny Terry. Together, McGhee and Terry worked for decades in an acoustic folk-blues bag, singing ancient ditties like "John Henry" and "Pick a Bale of Cotton" for appreciative audiences worldwide. But McGhee was capable of a great deal more. Throughout the immediate postwar era, he cut electric blues and R&B on the New York scene, even enjoying a huge R&B hit in 1948 with "My Fault" for Savoy (Hal "Cornbread" Singer handled tenor sax duties on the 78).

Walter Brown McGhee grew up in Kingsport, Tennessee. He contracted polio at the age of four, which left him with a serious limp and plenty of time away from school to practice the guitar chords that he'd learned from his father, Duff McGhee. Brownie's younger brother, Granville McGhee, was also a talented guitarist who later hit big with the romping "Drinkin' Wine Spo-Dee-O-Dee"; he earned his nickname, "Stick," by pushing his crippled sibling around in a small cart propelled by a stick.

A 1937 operation sponsored by the March of Dimes restored most of McGhee's mobility. Off he went as soon as he recovered, traveling and playing throughout the Southeast. His jaunts brought him into contact with washboard player George "Oh Red" (or "Bull City Red") Washington in 1940, who in turn introduced McGhee to talent scout J.B. Long. Long got him a recording contract with OKeh/Columbia in 1940; his debut session in Chicago produced a dozen tracks over two days.

Long's principal blues artist, Blind Boy Fuller, died in 1941, precipitating Okeh issuance of some of McGhee's early efforts under the sobriquet of Blind Boy Fuller No. 2. McGhee cut a moving tribute song, "Death of Blind Boy Fuller," shortly afterward. McGhee's third marathon session for OKeh in 1941 paired him for the first time on shellac with whooping harpist Terry for "Workingman's Blues." The pair resettled in New York in 1942. They quickly got connected with the city's burgeoning folk music circuit, working with Woody Guthrie, Pete Seeger, and Leadbelly. After the end of World War II, McGhee began to record most prolifically, both with and without Terry, for a myriad of R&B labels: Savoy (where he cut "Robbie Doby Boogie" in 1948 and "New Baseball Boogie" the next year), Alert, London, Derby, Sittin' in With, and its Jax subsidiary in 1952, Jackson, Bobby Robinson's Red Robin logo (1953), Dot, and Harlem, before crossing over to the folk audience during the late '50s with Terry at his side. One of McGhee's last dates for Savoy in 1958 produced the remarkably contemporary "Living with the Blues," with Roy Gaines and Carl Lynch blasting away on lead guitars and a sound light years removed from the staid folk world. McGhee and Terry were among the first blues artists to tour Europe during the '50s, and they ventured overseas often after that. Their plethora of late-'50s and early-'60s albums for Folkways, Choice, World Pacific, Bluesville, and Fantasy presented the duo in acoustic folk trappings only, their Piedmont-style musical interplay a constant (if gradually more predictable) delight. McGhee didn't limit his talents to concert settings. He appeared on Broadway for three years in a production of playwright Tennessee Williams' Cat on a Hot Tin Roof in 1955, and later put in a stint in the Langston Hughes play Simply Heaven. Films (Angel Heart, Buck and the Preacher) and an episode of the TV sitcom Family Ties also benefited from his dignified presence. The wheels finally came off the partnership of McGhee and Terry during the mid-'70s. Toward the end, they preferred not to share a stage with one another (Terry would play with another guitarist, then McGhee would do a solo), let alone communicate. One of McGhee's final concert appearances came at the 1995 Chicago Blues Festival; his voice was a tad less robust than usual, but no less moving, and his rich, full-bodied acoustic guitar work cut through the cool evening air with alacrity. His like won't pass this way again. ---Bill Dahl, allmusic.com

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Blues Legends - Big Joe Turner Vol. 2

2010-03-16T17:46:42Z

Blues Legends - Big Joe Turner Vol. 2


1. Back breaking blues (Turner) - 3:03
2. Empty pocket blues (Turner) - 2:41
3. Story to tell (Turner) - 2:31
4. Jumpin' tonight (Midnight rocking') (Turner) - 2:22
5. Lucille (Turner) - 2:30
6. Love me baby (Little bitty baby) (Turner) - 2:22
7. Blues jump the rabbit (Turner) - 2:32
8. The sun is shining (Turner) - 1:58
9. Battle of the blues, part 1 (Harris, Turner) - 2:52
10. Rebecca (Turner) - 2:42
11. It's the same old story (Turner) - 2:57
12. Little bitty gal's blues (Turner) - 3:21
13. S. K. blues part 2 (King) - 2:57
14. Watch that jive (Turner) - 2:58
15. Doggin' the blues (Low dog blues) (Turner) - 3:05
16. Battle of the blues, part 2 (Turner, Harris) - 2:49
17. Morning glory (Ellington) - 2:28
18. Nobody in mind (Williams) - 3:09

Big Joe Turner was the brawny-voiced “Boss of the Blues.” He was among the first to mix R&B with boogie-woogie, resulting in jump blues - a style that presaged the birth of rock and roll. Indeed, Turner’s original recording of “Shake, Rattle and Roll,” cut for Atlantic Records in 1954, remains one of the cornerstones numbers of the rock and roll revolution. Turner’s lengthy career touched on most every significant development in popular music during this century, taking him from the big bands of the Swing Era to boogie-woogie, rhythm & blues, and rock and roll. James Austin of Rhino Records noted that “[Turner’s] raucous style first blended R&B with boogie-woogie. The result was jump blues, and Joe was its foremost practitioner.” ---rockhall.com

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Blues Legends - Big Joe Turner Vol. 1

2010-03-16T16:26:08Z

Blues Legends - Big Joe Turner Vol.1


1. Playboy Blues (J. Turner) - 3:01
2. Miss Brown Blues (J. Turner) - 3:01
3. BI'm Still In The Dark (J. Turner) - 2:52
4. Sally Zu-zazz (J. Turner) - 3:06
5. Milk and Butter Blues (J. Turner) - 2:41
6. Rock Of Gibraltar (J. Turner) - 3:04
7. I?m In Sharp When I Hit The Coast (J. Turner) - 2:36
8. Nobody In My Mind (J. Turner) - 2:55
9. Rocks In My Bed (J. Turner) - 2:28
10. S.K. Blues Part 1 (J. Turner) - 2:40
11. Johnson And Turner Blues (J. Turner) - 2:55
12. Howlin' Winds (J. Turner) - 3:07
13. Low Down Dog (J. Turner) - 2:56
14. I Got My Discharge Papers (J. Turner) - 3:09
15. Miss Brown Blues (J. Turner) - 2:40
16. I Got Love For Sale (J. Turner) - 2:58
17. Sunday Morning Blues (J. Turner) - 2:27
18. Mad Blues (J. Turner) - 2:39

The premier blues shouter of the postwar era, Big Joe Turner's roar could rattle the very foundation of any gin joint he sang within -- and that's without a microphone. Turner was a resilient figure in the history of blues -- he effortlessly spanned boogie-woogie, jump blues, even the first wave of rock & roll, enjoying great success in each genre. Turner, whose powerful physique certainly matched his vocal might, was a product of the swinging, wide-open Kansas City scene. Even in his teens, the big-boned Turner looked entirely mature enough to gain entry to various K.C. niteries. He ended up simultaneously tending bar and singing the blues before hooking up with boogie piano master Pete Johnson during the early '30s. Theirs was a partnership that would endure for 13 years.

The pair initially traveled to New York at John Hammond's behest in 1936. On December 23, 1938, they appeared on the fabled Spirituals to Swing concert at Carnegie Hall on a bill with Big Bill Broonzy, Sonny Terry, the Golden Gate Quartet, and Count Basie. Turner and Johnson performed "Low Down Dog" and "It's All Right, Baby" on the historic show, kicking off a boogie-woogie craze that landed them a long-running slot at the Cafe Society (along with piano giants Meade Lux Lewis and Albert Ammons). As 1938 came to a close, Turner and Johnson waxed the thundering "Roll 'Em Pete" for Vocalion. It was a thrilling up-tempo number anchored by Johnson's crashing 88s, and Turner would re-record it many times over the decades. Turner and Johnson waxed their seminal blues "Cherry Red" the next year for Vocalion with trumpeter Hot Lips Page and a full combo in support. In 1940, the massive shouter moved over to Decca and cut "Piney Brown Blues" with Johnson rippling the ivories. But not all of Turner's Decca sides teamed him with Johnson; Willie "The Lion" Smith accompanied him on the mournful "Careless Love," while Freddie Slack's Trio provided backing for "Rocks in My Bed" in 1941.

Turner ventured out to the West Coast during the war years, building quite a following while ensconced on the L.A. circuit. In 1945, he signed on with National Records and cut some fine small combo platters under Herb Abramson's supervision. Turner remained with National through 1947, belting an exuberant "My Gal's a Jockey" that became his first national R&B smash. Contracts didn't stop him from waxing an incredibly risqué two-part "Around the Clock" for the aptly named Stag imprint (as Big Vernon!) in 1947. There were also solid sessions for Aladdin that year that included a wild vocal duel with one of Turner's principal rivals, Wynonie Harris, on the ribald two-part "Battle of the Blues."

Few West Coast indie labels of the late '40s didn't boast at least one or two Turner titles in their catalogs. The shouter bounced from RPM to Down Beat/Swing Time to MGM (all those dates were anchored by Johnson's piano) to Texas-based Freedom (which moved some of their masters to Specialty) to Imperial in 1950 (his New Orleans backing crew there included a young Fats Domino on piano). But apart from the 1950 Freedom 78, "Still in the Dark," none of Turner's records were selling particularly well. When Atlantic Records bosses Abramson and Ahmet Ertegun fortuitously dropped by the Apollo Theater to check out Count Basie's band one day, they discovered that Turner had temporarily replaced Jimmy Rushing as the Basie band's frontman, and he was having a tough go of it. Atlantic picked up his spirits by picking up his recording contract, and Turner's heyday was about to commence.

At Turner's first Atlantic date in April of 1951, he imparted a gorgeously world-weary reading to the moving blues ballad "Chains of Love" (co-penned by Ertegun and pianist Harry Van Walls) that restored him to the uppermost reaches of the R&B charts. From there, the hits came in droves: "Chill Is On," "Sweet Sixteen" (yeah, the same downbeat blues B.B. King's usually associated with; Turner did it first), and "Don't You Cry" were all done in New York, and all hit big.

Turner had no problem whatsoever adapting his prodigious pipes to whatever regional setting he was in. In 1953, he cut his first R&B chart-topper, the storming rocker "Honey Hush" (later covered by Johnny Burnette and Jerry Lee Lewis), in New Orleans, with trombonist Pluma Davis and tenor saxman Lee Allen in rip-roaring support. Before the year was through, he stopped off in Chicago to record with slide guitarist Elmore James' considerably rougher-edged combo and hit again with the salacious "T.V. Mama." Prolific Atlantic house writer Jesse Stone was the source of Turner's biggest smash of all, "Shake, Rattle and Roll," which proved his second chart-topper in 1954. With the Atlantic braintrust reportedly chiming in on the chorus behind Turner's rumbling lead, the song sported enough pop possibilities to merit a considerably cleaned-up cover by Bill Haley & the Comets (and a subsequent version by Elvis Presley that came a lot closer to the original leering intent).

Suddenly, at the age of 43, Turner was a rock star. His jumping follow-ups -- "Well All Right," "Flip Flop and Fly," "Hide and Seek," "Morning, Noon and Night," "The Chicken and the Hawk" -- all mined the same good-time groove as "Shake, Rattle and Roll," with crisp backing from New York's top session aces and typically superb production by Ertegun and Jerry Wexler. Turner turned up on a couple episodes of the groundbreaking TV program Showtime at the Apollo during the mid-'50s, commanding center stage with a joyous rendition of "Shake, Rattle and Roll" in front of saxman Paul "Hucklebuck" Williams' band. Nor was the silver screen immune to his considerable charms: Turner mimed a couple of numbers in the 1957 film Shake Rattle & Rock (Fats Domino and Mike "Mannix" Connors also starred in the flick).

Updating the pre-war number "Corrine Corrina" was an inspired notion that provided Turner with another massive seller in 1956. But after the two-sided hit "Rock a While"/"Lipstick Powder and Paint" later that year, his Atlantic output swiftly faded from commercial acceptance. Atlantic's recording strategy wisely involved recording Turner in a jazzier setting for the adult-oriented album market; to that end, a Kansas City-styled set (with his former partner Johnson at the piano stool) was laid down in 1956 and remains a linchpin of his legacy. Turner stayed on at Atlantic into 1959, but nobody bought his violin-enriched remake of "Chains of Love" (on the other hand, a revival of "Honey Hush" with King Curtis blowing a scorching sax break from the same session was a gem in its own right). The '60s didn't produce too much of lasting substance for the shouter -- he actually cut an album with longtime admirer Haley and his latest batch of Comets in Mexico City in 1966!

But by the tail end of the decade, Turner's essential contributions to blues history were beginning to receive proper recognition; he cut LPs for BluesWay and Blues Time. During the '70s and '80s, Turner recorded prolifically for Norman Granz's jazz-oriented Pablo label. These were super-relaxed impromptu sessions that often paired the allegedly illiterate shouter with various jazz luminaries in what amounted to loosely run jam sessions. Turner contentedly roared the familiar lyrics of one or another of his hits, then sat back while somebody took a lengthy solo. Other notable album projects included a 1983 collaboration with Roomful of Blues, Blues Train, for Muse. Although health problems and the size of his humongous frame forced him to sit down during his latter-day performances, Turner continued to tour until shortly before his death in 1985. They called him the Boss of the Blues, and the appellation was truly a fitting one: when Turner shouted a lyric, you were definitely at his beck and call. ---Bill Dahl, Rovi

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Blues Legends - Big Bill Broonzy

2010-03-16T15:56:43Z

Blues Legends - Big Bill Broonzy


1. Mississippi River Blues (Broonzy) - 2:43
2. Come Home Early (Broonzy) - 3:01
3. Southern Flood Blues (Broonzy) - 3:16
4. Horny Frog (Broonzy) - 3:05
5. It's your time now (Broonzy) - 2:50
6. W.P.A. Blues (Broonzy) - 2:51
7. Big Billy Blues (Broonzy) - 0:28
8. Too too train blues ( Broonzy) - 2:53
9. Worrying you out of my mind (Broonzy) - 3:06
10. How you want it done ( Broonzy) - 2:52
11. Bull cow blues (Broonzy) - 2:53
12. Long tall mama (Broonzy) - 2:50
13. Good Jelly (Broonzy) - 3:18
14. Rising sun shine on (L. Melrose) - 3:11
15. Good liquor gonna carry me down (Broonzy) - 2:46
16. Friendless blues ( Broonzy) - 3:23

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Blues Legends - Arthur 'Big Boy' Crudup

2010-03-16T12:46:05Z

Blues Legends - Arthur 'Big Boy' Crudup


1. Cry your blues away (Crudup, Knowling, Riley) - 3:08
2. Crudup's vicksburg blues (Crudup, Knowling, Riley) - 3:12
3. gonna be some changes made (Crudup, Knowling, Riley) - 2:43
4. Katie May (Crudup, Knowling, Riley) - 3:03
5. Hoodoo lady blues (Crudup, Knowling, Riley) - 3:01
6. Hey, mama everything's all right (Crudup, Knowling, Riley) - 2:54
7. Lonesome world to me (Crudup, Knowling, Riley) - 3:11
8. Roberta blues (Crudup, Knowling, Riley) - 2:45
9. Just like a spider (Crudup, Knowling, Riley) - 3:14
10. Some day (Crudup, Knowling, Riley) - 2:55
11. That's why i'm lonesome (Crudup, Knowling, Riley) - 3:04
12. She's gone (Crudup, Sanders) - 2:59
13. That's all right (Crudup, Knowling, Riley) - 2:52
14. So glad you're mine (Crudup, Jackson) - 2:46
15. You got to reap (Crudup, Knowling, Riley) - 2:56
16. I want my lovin' (Crudup, Knowling, Riley) - 2:56
17. Chicago blues (Crudup, Knowling, Riley) - 3:12
18. I don't know it (Crudup, Knowling, Riley) - 2:49
19. Crudup's after hours (Crudup, Knowling, Riley) - 2:55
20. Train fare blues (Crudup, Knowling, Riley) - 2:42

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Blues Legends – Sonny Terry (2002)

2010-03-06T17:45:43Z

Blues Legends – Sonny Terry (2002)


1. Screamin' And Cryin' Blues (S. Terry) - 2:50
2. Harmonica Blues (S. Terry) - 2:26
3. Beer Garden Blues (S. Terry) - 2:44
4. Custard Pie Blues (S. Terry) - 2:58
5. Worried Man Blues (S. Terry) - 2:41
6. Crow Jane Blues (S. Terry) - 2:35
7. Hot Headed Women (S. Terry) - 3:11
8. All Aone Blues (S. Terry) - 3:06
9. Whoopin' The Blues (S. Terry) - 2:43
10. Train Whistle Blues (S. Terry) - 2:47
11. New Love Blues (S. Terry) - 2:43
12. Harmonica And Washboard Breakdown (Terry, G. Washington) - 2:31
13. Harmonica Blues (S. Terry) - 2:42
14. Harmonica Stomp (S. Terry) - 2:48
15. Blowing The Blues (S. Terry) - 2:54
16. Lonesome Train (S. Terry) - 3:32
17. Sweet Woman (S. Terry) - 3:06
18. Fox Chase (D.F. Bailey, S. Terry) - 2:03

The joyous whoop that Sonny Terry naturally emitted between raucous harp blasts was as distinctive a signature sound as can possibly be imagined. Only a handful of blues harmonica players wielded as much of a lasting influence on the genre as did the sightless Terry (Buster Brown, for one, copied the whoop and all), who recorded some fine urban blues as a bandleader in addition to serving as guitarist Brownie McGhee's longtime duet partner.

Saunders Terrell's father was a folk-styled harmonica player who performed locally at dances, but blues wasn't part of his repertoire (he blew reels and jigs). Terry wasn't born blind, he lost sight in one eye when he was five, the other at age 18. That left him with extremely limited options for making any sort of feasible living, so he took to the streets armed with his trusty harmonicas. Terry soon joined forces with Piedmont pioneer Blind Boy Fuller, first recording with the guitarist in 1937 for Vocalion.

Terry's unique talents were given an extremely classy airing in 1938 when he was invited to perform at New York's Carnegie Hall at the fabled From Spirituals to Swing concert. He recorded for the Library of Congress that same year and cut his first commercial sides in 1940. Terry had met McGhee in 1939, and upon the death of Fuller, they joined forces, playing together on a 1941 McGhee date for OKeh and settling in New York as a duo in 1942. There they broke into the folk scene, working alongside Leadbelly, Josh White, and Woody Guthrie.

While Brownie McGhee was incredibly prolific in the studio during the mid-'40s, Terry was somewhat less so as a leader (perhaps most of his time was occupied by his prominent role in Finian's Rainbow on Broadway for approximately two years beginning in 1946). There were sides for Asch and Savoy in 1944 before three fine sessions for Capitol in 1947 (the first two featuring Stick McGhee rather than Brownie on guitar) and another in 1950.M

Terry made some nice sides in an R&B mode for Jax, Jackson, Red Robin, RCA Victor, Groove, Harlem, Old Town, and Ember during the '50s, usually with Brownie close by on guitar. But it was the folk boom of the late '50s and early '60s that made Brownie and Sonny household names (at least among folk aficionados). They toured long and hard as a duo, cutting a horde of endearing acoustic duet LPs along the way, before scuttling their decades-long partnership amidst a fair amount of reported acrimony during the mid-'70s. ---Bill Dahl, allmusic.com

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Blues Legends – Sarah Vaughan

2010-03-06T16:29:34Z

Blues Legends – Sarah Vaughan


1. Black Coffee (Burke, Webster) - 3:17
2. As You Desire Me (Wrubel) - 2:34
3. While Youre Gone (Thompson) - 3:08
4. Just Friends (Klenner, Lewis) - 3:00
5. You Taught Me to love again (Carpenter, Dorsey, Woode) - 3:17
6. Lonely Girl (Troup) - 2:20
7. Youre Mine, You (Heyman, Green) - 3:11
8. The Nearness Of You (Carmichael, Washington) - 3:21
9. Im Crazy To Love You (Werner, Marino) - 3:00
10. Dont Be Afraid (Newman, Roberts) - 2:54
11. I'll Know (Loesser) - 3:18
12. Thinking Of You (Kalmar, Ruby) - 3:04
13. These Things I Offer You (Bejamin, Weiss) - 2:59
14. After Hours (Gordon) - 2:52
15. Just A Moment More (Livingston, Evans) - 3:19
16. Time To Go (Alin, Frank, Getzov) - 2:57
17. Corner To Corner (Marcus) - 2:57
18. Street Of Dreams (Young, Lewis) - 3:04
19. I Confess (Lawrence, Hoffsten, Arnesson) - 2:21
20. A Blues Serenade (Sinorelli, Parish) - 2:35

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie. Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.

During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years. ---Scott Yanow, allmusic.com

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Blues Legends – Muddy Waters

2010-03-06T15:56:43Z

Blues Legends – Muddy Waters


1. Country Blues (Morganfield) - 3:24
2. I Be's Troubled (Morganfield) - 3:04
3. Burr Clover Farm Blues (Morganfield) - 2:56
4. Take A Walk With Me (Morganfield) - 3:01
5. Burr Clover Blues (Morganfield) - 3:11
6. Walkin' Blues (R. Johnson) - 2:56
7. I Can't Be Satisfied (Morganfield) - 2:43
8. Gypsy Woman (Morganfield) - 2:34
9. Mean Read Spider (Morganfield) - 2:17
10. I Feel Like Going Home (Morganfield) - 3:09
11. Little Anna Mea (Morganfield) - 2:33
12. Train Fare Home Blues (Morganfield) - 2:47
13. Little Geneva (Morganfield) - 2:48
14. Rollin' And Tumblin' (Morganfield) - 3:00
15. Streamline Woman (Morganfield) - 3:14
16. Rolling Stone (Morganfield) - 3:07
17. You Gonna Miss Me (Morganfield) - 2:34

Muddy Waters was the single most important artist to emerge in post-war American blues. A peerless singer, a gifted songwriter, an able guitarist, and leader of one of the strongest bands in the genre (which became a proving ground for a number of musicians who would become legends in their own right), Waters absorbed the influences of rural blues from the Deep South and moved them uptown, injecting his music with a fierce, electric energy and helping pioneer the Chicago Blues style that would come to dominate the music through the 1950s, ‘60s, and '70s. The depth of Waters' influence on rock as well as blues is almost incalculable, and remarkably, he made some of his strongest and most vital recordings in the last five years of his life.

Waters was born McKinley Morganfield, and historians argue about some details of his early life; while he often told reporters he was born in Rolling Fork, Mississippi on April 4, 1915, researchers have uncovered census records and personal documents that would pin the year of his birth at 1913 or 1914, and others have cited the place of his birth as Jug's Corner, a town in Mississippi's Issaquena County. What is certain is that Morganfield's mother died when he just three years old, and from then on he was raised on the Stovall Plantation in Clarksdale, Mississippi by his grandmother, Della Grant. Grant is said to have given young Morganfield the nickname "Muddy" because he liked to play in the mud as a boy, and the name stuck, with "Water" and "Waters" being tacked on a few years later. The rural South was a hotbed for the blues in the '20s and ‘30s, and young Muddy became entranced with the music when he discovered a neighbor had a phonograph and records by the likes of Blind Lemon Jefferson, Lonnie Johnson, and Tampa Red.

Down on Stovall's Plantation As Muddy became more deeply immersed in the blues, he took up the harmonica; he was performing locally at parties and fish fries by the age of 13, sometimes with guitarist Scott Bohanner, who lived and worked in Stovall. In his early teens, Muddy was introduced to the sound of contemporary Delta blues artists, such as Son House, Robert Johnson, and Charley Patton; their music inspired Waters to switch instruments, and he bought a guitar when he was 17, learning to play in the bottleneck style. Within a few years, he was performing on his own and with a local string band, the Son Simms Four; he also opened a juke joint on the Stovall grounds, where fellow sharecroppers could listen to music, enjoy a drink or a snack, and gamble. Waters became a fixture in Mississippi, performing with the likes of Big Joe Williams and Robert Nighthawk, and in the late summer of 1941, musical archivists Alan Lomax and John Work III arrived in Mississippi with a portable recording rig, eager to document local blues talent for the Library of Congress (it's said they were hoping to locate Robert Johnson, only to learn he had died three years earlier). Lomax and Work were strongly impressed with Waters, and recorded several sides of him performing in his juke joint; two of the songs were released as a 78, and when Waters received two copies of the single and $20 from Lomax, it encouraged him to seriously consider a professional career. In July 1943, Lomax returned to record more material with Waters; these early sessions with Lomax were collected on the album Down On Stovall's Plantation in 1966, and a 1994 reissue of the material, The Complete Plantation Recordings, won a Grammy award. In 1943, Waters decided to pull up stakes and relocate to Chicago, Illinois in hopes of making a living off his music. (He moved to St. Louis for a spell in 1940, but didn't care for it.) Waters drove a truck and worked at a paper plant by day, and at night struggled to make a name for himself, playing house parties and any bar that would have him. Big Bill Broonzy reached out to Waters and helped him land better gigs; Muddy had recently switched to electric guitar to be better heard in noisy clubs, which added a new power to his cutting slide work. By 1946, Waters had come to the attention of Okeh Records, who took him into the studio to record but chose not to release the results. A session that same year for 20th Century Records resulted in just one tune being issued as the B-side of a James "Sweet Lucy" Carter release, but Waters fared better with Aristocrat Records, a Chicago-based label founded by brothers Leonard and Phil Chess. The Chess Brothers began recording Waters in 1947, and while a few early sides with Sunnyland Slim failed to make an impression, his second single for Aristocrat as a headliner, "I Can't Be Satisfied" b/w "(I Feel Like) Goin' Home," became a significant hit and launched Waters as a star on the Chicago blues scene. Initially, the Chess Brothers recorded Waters with trusted local musicians (including Earnest "Big" Crawford and Alex Atkins), but for his live work, Waters had recruited a band which included Little Walter on harmonica, Jimmy Rogers on guitar, and Baby Face Leroy Foster on drums (later replaced by Elgin Evans), and in person, Waters and his group earned their reputation as the most powerful blues band in town, with Waters' passionate vocals and guitar matched by the force of his combo. By the early '50s, the Chess Brothers (who had changed the name of their label from Aristocrat to Chess Records in 1950) began using Waters' stage band in the studio, and Little Walter in particular became a favorite with blues fans and a superb foil for Waters. Otis Spann joined Waters' group on piano in 1953, and he would become the anchor for the band well into the '60s, after Little Walter and Jimmy Rogers had left to pursue solo careers. In the '50s, Waters released some of the most powerful and influential music in the history of electric blues, scoring hits with numbers like "Rollin' and Tumblin,'" "I'm Ready," "I'm Your Hoochie Coochie Man," "Mannish Boy," "Trouble No More," "Got My Mojo Working," and "I Just Want to Make Love to You" which made him a frequent presence on the R&B charts.

Folk Singer By the end of the '50s, while Waters was still making fine music, his career was going into a slump. The rise of rock & roll had taken the spotlight away from more traditional blues acts in favor of younger and rowdier acts (ironically, Waters had headlined some of Alan Freed's early "Moondog" package shows), and Waters' first tour of England in 1958 was poorly received by many U.K. blues fans, who were expecting an acoustic set and were startled by the ferocity of Waters' electric guitar. Waters began playing more acoustic music informed by his Mississippi Delta heritage in the years that followed, even issuing an album titled Muddy Waters: Folk Singer in 1964. However, the jolly irony was that British blues fans would soon rekindle interest in Waters and electric Chicago blues; as the rise of the British Invasion made the world aware of the U.K. rock scene, the nascent British blues scene soon followed, and a number of Waters' U.K. acolytes became international stars, such as Eric Clapton, John Mayall, Alexis Korner, and a modestly successful London act who named themselves after Muddy's 1950 hit "Rollin' Stone." While Waters was still leading a fine band that delivered live (and included the likes of Pinetop Perkins on piano and James Cotton on harmonica), Chess Records was moving more toward the rock, soul, and R&B marketplace, and seemed eager to market him to white rock fans, a notion that reached its nadir in 1968 with Electric Mud, in which Waters was paired up with a psychedelic rock band (featuring guitarists Pete Cosey and Phil Upchurch) for rambling and aimless jams on Waters' blues classics. 1969's Fathers and Sons was a more inspired variation on this theme, with Waters playing alongside reverential white blues rockers such as Mike Bloomfield and Paul Butterfield; 1971's The London Muddy Waters Sessions was less impressive, featuring fine guitar work from Rory Gallagher but uninspired contributions from Steve Winwood, Rick Grech, and Georgie Fame.

Curiously, while Chess Records helped Waters make some of the finest blues records of the '50s and ‘60s, it was the label's demise that led to his creative rebirth. In 1969, the Chess Brothers sold the label to General Recorded Tape, and the label went through a long, slow commercial decline, finally folding in 1975. (Waters would become one of several Chess artists who sued the label for unpaid royalties in its later years.) Johnny Winter, a longtime Waters fan, heard the blues legend was without a record deal, and was instrumental in getting Waters signed to Blue Sky Records, a CBS-distributed label that had become his recording home. Winter produced the sessions for Waters' first Blue Sky release, and sat in with a band comprised of members of Waters' road band (including Bob Margolin and Willie "Big Eyes" Smith) along with James Cotton on harp and Pinetop Perkins on piano. 1977's Hard Again was a triumph, sounding as raw and forceful as Waters' classic Chess sides, with a couple extra decades of experience informing his performances, and it was rightly hailed as one of the finest albums Waters ever made while sparking new interest in his music. (It also earned him a Grammy award for Best Traditional or Ethnic Folk Recording.) Waters also dazzled music fans when he appeared at the Band's celebrated farewell concert on Thanksgiving 1976 at the invitation of Levon Helm, who had helped produce one of his last Chess releases, The Muddy Waters Woodstock Album. Muddy delivered a stunning performance of "Mannish Boy" that became one of the highlights of Martin Scorsese's 1978 concert film The Last Waltz. Between Hard Again and The Last Waltz, Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds, sharing stages with the likes of Eric Clapton and the Rolling Stones, and cutting two more well-received albums with Winter as producer, 1978's I'm Ready and 1981's King Bee, as well as a solid 1979 concert set, Muddy "Mississippi" Waters Live. Waters' health began to fail him in 1982, and his final live appearance came in the fall of that year, when he sang a few songs at an Eric Clapton show in Florida. Waters died quietly of heart failure at his home in Westmont, Illinois on April 30, 1983. Since then, both Chicago and Westmont have named streets in Muddy's honor, he's appeared on a postage stamp, a marker commemorates the site of his childhood home in Clarksdale, and he appeared as a character in the 2008 film Cadillac Records, played by Jeffrey Wright. ---Mark Deming, allmusic.com

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