Blues

Roy Brown - Cheapest Price In Town (1978)

2019-10-13T11:51:02Z

Roy Brown - Cheapest Price In Town (1978)


A1 	Love For Sale (Cheapest Price In Town)	3:45
A2 	This Land Is My Home	3:44
A3 	Louise,Louise	6:12
A4 	Boss Lover Blues	6:29
A5 	Good Sweet Loving	2:35
B1 	Poon Tang Time	3:04
B2 	Separation Blues	2:35
B3 	Grits 'N' Gravy	3:18
B4 	Midnight In Texas	6:12
B5 	Lack Of Nookie	7:32

Backing Vocals – Charles Givings, Deborah Givings, Johnny Ross
Bass – Darryl Coleman (tracks: A2 to A4, B1 to B4), Bill Walker (tracks: A1, A5, B5)
Bongos, Tambourine – Leon Goss (tracks: A1, A5, B5)
Congas – Tony Coleman (tracks: A2 to A4, B1 to B4)
Drums – Charles Brown (tracks: A1, A5, B5), Charles Givings (tracks: A2 to A4, B1 to B4)
Guitar – Evans Walker (tracks: A1, A5, B5), Jimmy Gough (tracks: A2 to A4, B1 to B4), Pee Wee Crayton (tracks: A1, A5, B5)
Piano – Duke Burrell (tracks: A1, A5, B5), Johnny Ross (tracks: A2 to A4, B1 to B4)
Saxophone – Herman Riley (tracks: A2 to A4, B1 to B4)
Tenor Saxophone – Bill Clark (tracks: A1, A5, B5)
Trombone – Don Cook (tracks: A2 to A4, B1 to B4), Johnny Paul (tracks: A2 to A4, B1 to B4)
Trumpet – Leslie Drayton (tracks: A2 to A4, B1 to B4)
Vocals, Producer – Roy Brown

There is an on-going debate about the origins of Rock’n’Roll, but there is little doubt that it sounded very much like the R&B that Roy Brown was producing in New Orleans around 1950. His powerful, emotional Gospel style vocals, with melismatic swoops, shrieks and bellowing choruses, influenced the singing of generations of Rockers and Bluesmen that followed. Bobby ‘Blue’ Bland, Little Richard and James Brown all took a lesson from Roy, but he could also write a great song, and his best remembered composition saw him inducted into the Blues Hall of Fame.

Roy Brown was born in New Orleans in 1925, and grew up in Louisiana and Texas but moved to Los Angeles when his mother died in 1942. His vocal skills were honed in Church, but Roy was keen on becoming a boxer and fought as a welterweight, although he was rejected for Military service on account of his flat feet! Roy won a singing contest, then moved to Galveston, Texas, where he fronted a band and started to play some Blues. When he wrote a song called ‘Good Rockin’ Tonight’, he tried to get his idol Wynonie Harris to record it, but he didn’t take it up. In June 1947, Roy went to Cosimo Matassa‘s J&M studio across from Congo Square in New Orleans, and he emerged with his own version of ‘Good Rockin’ Tonight’, which put his Gospel vocals over a driving rhythm and “talked a little dirty”, making it a prime candidate to be a rock’n’roll anthem. It got some airplay on ‘white’ radio stations, and the local ‘black’ stations, especially ‘Poppa Stoppa’s Show’, played it almost non-stop, and Roy’s version reached No.13 in the R&B charts. Wynonie Harris finally recognised a ‘good thing’ and his version went to No.1 in the following year, and Elvis, Jerry Lee Lewis, Ricky Nelson and Bruce Springsteen have all had success with Roy’s composition. Further big hits in the same vein, like ‘Hard Luck Blues’, ‘Miss Fanny Brown’ and ‘Cadillac Baby’, made Roy the best selling R&B artist from 1949-51.

After a backstage bust-up with Fats Domino that divided opinion in the New Orleans music community, in 1952 Roy won a court battle for access to his royalty payments from Wynonie’s records on the King label. This was a double-edged victory that may have caused him to be black-listed by record companies, and it certainly caused him trouble with the IRS, because he did some jail-time for tax evasion, despite Elvis generously writing him a cheque. Roy’s career never recovered, although he made the R&B charts in 1957 with ‘Let the Four Winds Blow’. He sold encyclopedias door-to-door, sold the rights to ‘Good Rockin’ and played only the occasional gig. In 1970, he played the Monterey Festival with the Johnny Otis Show and had a reasonable hit with ‘Love for Sale’, and a low-key revival started. He toured in Europe in 1978 and his final appearance in 1981 was at the New Orleans Jazz Festival, one month before he passed away from heart trouble at home in California. ---allaboutbluesmusic.com

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Roy Brown – Hard Luck Blues (1976)

2014-11-28T16:53:50Z

Roy Brown – Hard Luck Blues (1976)

Volume One
 
Side One
1. Hard Luck Blues
2. Good Rockin' Man
3. Ain't It A Shame
4. Love Don't Love Nobody
5. I've Got The Last Laugh Now
6. Trouble At Midnight
 
Side Two
1. Boogie At Midnight
2. Travelin' Man
3. Ain't Got No Blues Today
4. Wrong Woman Blues
5. Queen Of Diamonds
6. Worried Life Blues
 
Volume Two
 
Side One
1. Ain't No Rockin' No More
2. Letter From Home
3. Beautician Blues
4. Long About Sundown
5. Bar Room Blues

Side Two
1. Train Time Blues
2. Sweet Peach
3. Double Crossin' Woman
4. Lonesome Lover
5. Big Town

Roy Brown - vocals
Earl M. Barnes & His Orchestra 	
Eddie Barnes - Sax (Tenor)
Edgar Blanchard - Guitar
Walter Daniels - Piano
Wallace Davenport - Trumpet
Willie Gaddy - Guitar
Jimmy Griffin - 	Trombone
Wilbur Harden - Trumpet
George Jenkins - Drums
Frank Parker 	Drums
Harry Porter - Sax (Bass)
Leroy "Batman" Rankins - Sax (Alto), Sax (Bass), Sax (Tenor)
Edward Santineo - Piano
Tommy Shelvin 	- Bass
Calvin Shields - Drums
Clement Tervalone - Trombone

Roy Brown's highly influential crying vocal style is convincingly showcased on this two-record set of his late-'40s and '50s material. --- George Bedard, Rovi

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Roy Brown – Blues Deluxe (2008)

2009-10-29T22:53:00Z

Roy Brown – Blues Deluxe (2008)


1. Cadillac Baby
2. Hard Luck Blues
3. New Rebecca
4. Sweet Peach
5. Love Don't Love Nobody
6. Dreaming Blues
7. Good Man Blues
8. Too Much Lovin' Ain't No Good
9. Teenage Jamboree
10. Train Time Blues
11. Bar Room Blues
12. Long About Sundown
13. Beautician Blues
14. Drum Boogie
15. Double Crossin' Woman
16. Swingin' With Johnny
17. Wrong Woman Blues
18. Good Rockin' Man
19. I've Got The Last Laugh Now
20. Big Town

When you draw up a short list of the R&B pioneers who exerted a primary influence on the development of rock & roll, respectfully place singer Roy Brown's name near its very top. His seminal 1947 DeLuxe Records waxing of "Good Rockin' Tonight" was immediately ridden to the peak of the R&B charts by shouter Wynonie Harris and subsequently covered by Elvis Presley, Ricky Nelson, Jerry Lee Lewis, and many more early rock icons (even Pat Boone). In addition, Brown's melismatical pleading, gospel-steeped delivery impacted the vocal styles of B.B. King, Bobby Bland, and Little Richard (among a plethora of important singers). Clearly, Roy Brown was an innovator -- and from 1948-1951, an R&B star whose wild output directly presaged rock's rise.

Born in the Crescent City, Brown grew up all over the place: Eunice, LA (where he sang in church and worked in the sugarcane fields); Houston, TX; and finally Los Angeles by age 17. Back then, Bing Crosby was Brown's favorite singer -- but a nine-month stint at a Shreveport, LA, nightclub exposed him to the blues for the first time. He conjured up "Good Rockin' Tonight" while fronting a band in Galveston, TX. Ironically, Harris wanted no part of the song when Brown first tried to hand it to him. When pianist Cecil Gant heard Brown's knockout rendition of the tune in New Orleans, he had Brown sing it over the phone to a sleepy DeLuxe boss, Jules Braun, in the wee hours of the morning. Though Brown's original waxing (with Bob Ogden's band in support) was a solid hit, Harris' cover beat him out for top chart honors.

Roy Brown didn't have to wait long to dominate the R&B lists himself. He scored 15 hits from mid-1948 to late 1951 for DeLuxe, ranging from the emotionally wracked crying blues of "Hard Luck Blues" (his biggest seller of all in 1950) to the party-time rockers "Rockin' at Midnight," "Boogie at Midnight," "Miss Fanny Brown," and "Cadillac Baby." Strangely, his sales slumped badly from 1952 on, even though his frantic "Hurry Hurry Baby," "Ain't No Rockin' No More," "Black Diamond," and "Gal From Kokomo" for Cincinnati's King Records rate among his hottest house rockers.

Brown was unable to cash in on the rock & roll idiom he helped to invent, though he briefly rejuvenated his commercial fortunes at Imperial Records in 1957. Working with New Orleans producer Dave Bartholomew, then riding high with Fats Domino, Brown returned to the charts with the original version of "Let the Four Winds Blow" (later a hit for Domino) and cut the sizzling sax-powered rockers "Diddy-Y-Diddy-O," "Saturday Night," and "Ain't Gonna Do It." Not everything was an artistic triumph; Brown's utterly lifeless cover of Buddy Knox's "Party Doll" -- amazingly, a chart entry for Brown -- may well be the worst thing he ever committed to wax (rivaled only by a puerile "School Bell Rock" cut during a momentary return to King in 1959).

After a long dry spell, Brown's acclaimed performance as part of Johnny Otis' troupe at the 1970 Monterey Jazz Festival and a 1973 LP for ABC-BluesWay began to rebuild his long-lost momentum. But it came too late; Brown died of a heart attack in 1981 at age 56, his role as a crucial link between postwar R&B and rock's initial rise still underappreciated by the masses. ---Bill Dahl

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